Anish Kapoor's Untitled, 1997
Anish Kapoor's Untitled, 1997

 




Anish Kapoor has spoken of his mirrored sculptures as "non-objects" — indicating that their presence is not contained in their material surfaces. Kapoor aims to enable his viewers to experience the sublime, saying: "I think that…in a world where most things are explainable, [the fact that] art remains unexplained and unexplainable is absolutely crucial." Seemingly a basic circle, Untitled is hewn in such a way as to produce disorienting optical effects: "That sense of something which is on one level very straightforward but retains its mask, somehow doesn't let its mask down — that's what interests me."
ArcelorMittal Orbit is Complete but will it be Loved? New York Times Calls it "A Lightning Rod Masquerading as a Sculpture"

While many new works of public art or major buildings can bring about mixed feelings in people that turn into fondness over time, as the works become part of the landscape, it is unclear whether this Anish Kapoor Vegas-meets-theme-park in time for the London Olympic Games.

From this New York Times story on the steel maker-named structure (for the total contribution of £19.6 million pounds or $31.4 million towards the cost):

Boris Johnson, the mayor of London, has said that the ArcelorMittal Orbit, a spiraling goliath of red tangled steel that stands 35 stories above the city’s Olympic Park, would have “dwarfed” the aspirations of Gustave Eiffel and “boggled the minds” of the ancient Romans.

Many Londoners don’t see it quite that way.

They’ve called the Orbit, designed by the Indian-born sculptor Anish Kapoor and the Sri Lankan architect Cecil Balmond, the “Eye-full Tower” and “Helter-Skelter,” and have compared it to a “contorted mass of entrails.” Envisioned as a symbol of London looming over the site of this summer’s Olympic Games, the Orbit, which visitors will enter, ascend and explore, is designed as an attraction to rival the London Eye and Big Ben for decades to come. And, at least for now, the sculpture is also serving as a prime target for British Olympic crankiness.

“The most lasting legacy of the multimillion-pound circus about to roll into town will be a big red clot on the landscape,” the columnist Catherine Cain wrote of the Orbit in The Watford Observer, the newspaper of a town near London. One of the most visible additions to the London skyline in decades and its tallest sculptural tower (about 70 feet higher than the Statue of Liberty), the Orbit has drawn criticism not just for its avant-garde design, but as a symbol — in spite of its mostly private financing — of the billions in government money being spent on the Olympics at a time when Britons are struggling under austerity measures put in place by the Conservative government of Prime Minister David Cameron.

The project has also brought out Londoners’ complicated feelings about public art, several people involved in the project said.

Artist name(s): Anish Kapoor

Topics: ArcelorMittal Orbit

Anish Kappor = Facebook IPO?

This artinfo column by Kyle Chayka questions whether Anish Kappor is increasingly more like the recent deflated Facebook IPO than a star artist who deserves continuing admiration...on the occasion of his two shows at Barbara Gladstone.  

After having seen yet another high-production value Anish concave dish at the most recently concluded Frieze New York, that wasn't even slightly amusing to see the optical illusions, I'm inclined to agree. On the other hand, the Anish Kapoor installation at the Grand Palais last year was quite spectacular.

Kapoor is a master of overblown spectacle. His just-completed 400-foot-tall London edifice, the intestinal swirl of roller coaster track and ‘80s architecture called the “ArcelorMittal Orbit,” has attracted a number of nicknames ranging from “The Tangled Earphones” to “The Offal Tower.” The title of his Chicago “Cloud Gate” was recently referred to by David Shrigley as “wanky and pretentious.” His 100-foot-tall “Leviathan” at Paris’s Grand Palais was full of numatic bravado but fell flat. The butterfly net “Temenos” (Greek for “sacred ground”) in Middlehaven, England, is one of the largest public sculptures in the world — in case there were any doubt that his work has to constantly top itself or risk losing the key to its interest.

Kapoor’s unending drive toward the big and obtrusive made his career as an art star and provided him with an ever-expanding list of projects, but this pace is as unsustainable as a vaporware Internet start-up, and the concrete pieces aren’t showing much of a way forward, either. In an interview over lunch recorded by the Financial Times, Kapoor comments on the source of his work: “I hope it’s not just megalomania — well, a certain amount of it is, of course! — that drives all this,” he says. So do we, Anish. But sometimes it’s hard to tell.

Art Basel Miami Beach's Art Public Opens Tuesday

Art Basel Miami Beach's Art Public opens on Tuesday at 4 pm with a preview before the opening of Art Basel Miami Beach the next day. ABMB is collaborating with the Bass Museum of Art, situated in Collins Park where the artworks will be concentrated.

Christine Y. Kim, Associate Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA) and Co-Founder of the Los Angeles Nomadic Division (LAND), is the new curator of Art Public.

Flyer Art Public

Admission to Art Public Exhibition | Art Public does not require any admission and is open to the general public for viewing.

List of Art Public artworks:

Darren Bader: my aunt's car / Andrew Kreps Gallery, New York
Nina Beier: The Demonstrators, 2011 / Standard (Oslo), Oslo
Chakaia Booker: Holla, 2008 / Marlborough Gallery, New York
Andrea Bowers & Olga Koumoundouros: Transformer Display of Community Information and Activation, 2011 / Susanne Vielmetter Los Angeles, Los Angeles
Bruce Conner: LOOKING FOR MUSHROOMS, 1959-1965 / Michael Kohn Gallery, Los Angeles
Kate Costello: Untitled, 2011 / Wallspace, New York
Jen DeNike: Iemanjá, 2011 / Mendes Wood, São Paulo
Gardar Eide Einarsson: Untitled (Apparatus), 2011 / Team Gallery, New York
Rachel Feinstein: Gargantua, 2011 / Marianne Boesky Gallery, New York
Theaster Gates: Stand-Ins for a Period of Wreckage, 2011 / Kavi Gupta Gallery, Chicago
Antony Gormley: Strain, 2011 / Sean Kelly, New York
Damien Hirst: Sensation, 2003 / L&M Arts, New York
Thomas Houseago: Rattlesnake Figure, 2011 / L&M Arts, New York
Zhang Huan: 49 Days No. 1, 2011 / Blum & Poe, Los Angeles
Richard Hughes: If I was where I would be, here I would be not, 2011 / Anton Kern Gallery,
New York
Robert Indiana: ART, 1972-2001 / Galerie Gmurzynska, Zurich
Glenn Kaino: Levitating the Fair (The Flying Merchant Ship), 2011 / Marlborough Gallery, New York
Anish Kapoor: Black Stones, Human Bones, 1993 / L&M Arts, New York
Robert Melee: It Sitting, 2008 / Andrew Kreps Gallery, New York
Anthony Pearson: Untitled (Transmission), 2011 / David Kordansky Gallery, Los Angeles
George Rickey: Two Lines Oblique Gyratory II, 1989 / Marlborough Gallery, New York
Eva Rothschild: Living Spring, 2011 / Stuart Shave/Modern Art, London
Eduardo Sarabia: Snake Skin Boots with Snake Head. White Quarry Stone 21st Century. Northern Mexico, 2011 / Proyectos Monclova, Mexico City
Banks Violette: Not yet titled, 2011 / Team Gallery, New York


Nina Beier | Standard (Oslo) 
For Art Public, Danish artist Nina Beier presents 'The Demonstrators,' a new series of work consisting of various domestic objects with posters glued onto them. 'The Demonstrators' follow a simple principle of hanging posters dipped in glue to dry on objects, as one would leave a towel out to dry. The drying process joins the two objects in an inseparable union, generating something like a wet t-shir t effect. The images on the posters are selected from photographs available from image banks and use the vocabulary of metaphors that have been developed in this forum to predict what anyone would need to express today. The objects all come from discount and department stores and are similarly made to cover our every need. The marriage between these two families of products, brings out the objecthood of the poster and the emblematic aspect of the object – as the object might be read as a symbolic attribution to the content of the poster or conversely the poster reduced to a draping to the object.

Chakaia Booker | Marlborough Gallery
Chakaia Booker’s sculpture 'Holla,' with its protruding slices of mixed rubber stacked and held in place, piece by piece, forming a feverishly intense pattern defined by forceful undulating forms, exemplifies the handwork aspect of Booker’s work. Lowery Stokes Sims refers to the ’handwork’ quality in her essay 'Seeing Chakaia Booker’s Sculpture,' where she states: 'Booker has been ahead of the curve of the current interest in handwork and making that has re-emerged over the last decade in the art world. This sense of touch, this commitment to the craft of making, the honing of technique in the service of concept resides in another vanguard: the blurring of lines between what is traditionally separated into art and craft, concept and execution. In Booker’s work these are seamlessly intertwined and indebted to one another.’

Andrea Bowers & Olga Koumoundouros | Susanne Vielmetter Los Angeles
'Transformer Display of Community Information and Activation' is a neighborhood-specific sculpture that displays informational materials and objects that raise awareness of Miami-based organizations and causes. At its core, it provides a public service: giving voice to and encouraging participation in community groups and political causes. In sculptural terms, it is an assemblage constructed from re-configured salvaged furniture, reused hardware and political flyers. The artists' intention for this moveable sculpture is that it can be placed on other sites in the future, accommodating the specific needs of local organizations.

Bruce Conner | Michael Kohn Gallery
With his silent-loop installation 'LOOKING FOR MUSHROOMS' seminal artist and filmmaker Bruce Conner diverged from his signature palette of film assemblage and apocalyptic imagery to create a colorful, explosive expedition through San Francisco and rural Mexico in search of magic mushrooms and transcendent illumination. Conner collected and composed thousands of saturated single-frame images, elegantly layered with in-camera multiple exposures. 'LOOKING FOR MUSHROOMS' premiered at Conner’s first solo exhibition at the Rose Art Museum at Brandeis University in 1965, then later became part of his moving image light shows with the North American Alchemical Light Company for Family Dog at the Avalon Ballroom, providing visual accompaniment for music legends such as The Doors, Grateful Dead, Janis Joplin, and Jefferson Airplane. Projection from dusk until dawn

Kate Costello | Wallspace
Kate Costello's 'Untitled' is a reproduction of a large metal archway that mimics an existing structure in the Wallspace gallery, a remnant of its former use as a turn-of-the-century warehouse. Costello’s structure is built using the same materials and methods as the original architectural form, preserving details that allude tofunction, to work, and to a past linked inextricably to production and commerce. The replication of the object and the details of its construction draw the visitors’ attention to the interaction between the existing architecture, its history and to the object, and then to their own presence and relationship between the two as they enter the space. 

Jen DeNike | Mendes Wood 
Jen DeNike presents a new performance piece 'Iemanjá' at Art Public. Ritual life formed the basis of most ancient cultures as a codification of memory and the transmission of cultural values, yet few people today understand the meaning and origins behind most ceremonies. The centre of the performance at Art Public forms a star-shaped sand-castle on the beach, around which seven women worship the Brazilian sea goddess lemanjá, with dance and song. They provide a platform for the celebration of a live experiential space whose focus lies in evolving a social relationship between the audience and performers, while maintaining a sense of visual aestheticism and spectacle. Performances will take place Wednesday, November 30 to Sunday, December 4 from 2pm to 5pm.

Gardar Eide Einarsson | Team Gallery 
'Untitled (Apparatus)' by Gardar Eide Einarsson is a sculpture based on prison exercise equipment. Prison design and architecture represent to the artists a zero state of design, where all traditional design considerations are jettisoned in favor of a design that exclusively seeks to prevent certain behaviors, generally focusing on not lending itself to the infliction of bodily harm. In this, it shares similarities with generic outdoor furniture of the kind found in city parks across the United States and the world. The sculpture has a strong visual affinity to Minimalist sculpture and shares Minimalism's preoccupation with the relationship between sculpture and the body of the spectator. The sculpture in this case could possibly be used as a way to actually transform the body through exercise. This again relates back to the problematic relationship between the body and theories of discipline and control as effected through exercise and the shaping of the body, relevant in a city with a strong beach culture. 

Rachel Feinstein | Marianne Boesky Gallery
'Gargantua' takes its title from the 16th-century satirical novel by Rabelais. A popular 19th-century edition of the story includes illustrations by Gustav Doré. One of his images, depicting the giant leading a group of humans into a castle, served as the point of departure for Rachel Feinstein’s work. Only the back of the giant is visible in Doré’s illustration, but Feinstein conjures a front that is simultaneously minimal in its unblemished white surface and Baroque in its formal composition. Simultaneously abstract and figurative, delicate and monumental, Feinstein’s 'Gargantua' re-imagines Doré’s image in three dimensions, springing it loose from the page. 

Theaster Gates | Kavi Gupta Chicago/Berlin
Theaster Gates’ work is about redeeming materials that are loaded with historical references. From his building projects on the south side of Chicago to his delicate ceramic wares, the material acts as intervention. The works lend themselves to be explored physically and conceptually. The new outdoor sculptures at Art Public represent the 'ghosts of structures that have gone.‘ The ceramic-encased monuments address ideas of fragility and a fleeting material world. Intricate to Gates’ practice, the artist repurposes discarded materials into his artwork that restore and redeem their value, explore art history, and function as relics for social reformation.

Antony Gormley | Sean Kelly Gallery
'Strain' by Antony Gormley is one of a series of Extended Block Works, first developed in London in 2010 for an exhibition called 'Test Sites.' Abolishing the conventional limits of the physical body, the solid rectilinear volumes of this work have been extended in all three axes turning subjective spatial experience – front, right, left and down into objective form. Exhibited outside for the first time and with its quasi-architectural arrangement of geometric volumes 'Strain' provides an interesting counterpoint to the urban Miami landscape. 

Damien Hirst | L & M Arts 
’Sensation’ is a monument-scaled, bronze sculpture painted to look like an oversized anatomical model. Hirst created ’Sensation’ for the group exhibition ‘In-A-Gadda-da-Vida‘ at Tate Britain 2004. The artist experiments with the boundaries between art and science, and this sculpture is an example of these paradoxical, but arguably equally powerful disciplines. The subject of an anatomical model subverts the concept of traditional sculpture. Painted bronze goes against the artistic norm, much like drastically enlarging the proportions of the model goes against the scientific norm. ’Sensation’ works on many levels to provoke questions on art, science, life and death.

Thomas Houseago | L & M Arts
'Rattlesnake Figure' by Thomas Houseago originated from a redwood tree carved by the artist and was then cast in bronze. The artist breathes new life into traditional monumental sculpture by bringing it back to earth and through art history. The Rattlesnake Totem is returning to its place of origin in nature, reflecting on the space surrounding it  –  standing upright and expressing its own fragility.

Richard Hughes | Anton Kern Gallery
Richard Hughes' work sees a suspended cobweb of bike parts hanging from lampposts in Miami Beach’s Collins Park. The piece is a reference to objects trapped in a web, the carcasses of bikes that end up tangled onto railings and fences in cities and the practice of chaining bikes to street furniture, its subsequent looting, abandonment and the build up of remaining parts. The work forms a broken web of chain, locks, bike parts and other discarded detritus.

Robert Indiana | Galerie Gmurzynska
Robert Indiana's sculpture 'ART' reflects the artist's interest in the graphic power of words, the technicality of a welded sculpture with a unique vision of Pop Art. Indiana's reflection on the meaning of a sculpture spelling out the word art successfully presents the viewer with one of the most challenging questions of Post Modernism, raised by a number of philosophers such as Bergson and Foucault, on the possibility of shared ideas through one language. 

Glenn Kaino | Marlborough Gallery 
For Art Public, Los Angeles-based artist Glenn Kaino gathers hundreds of volunteers to stage an unprecedented durational performance that takes place throughout the duration of Art Basel Miami Beach. Proposed to rekindle our belief in the value of art and artists in today's culture, Kaino’s collective action project asks volunteers to help lift a 20 x 20 feet sculptural platform invoking the iconic attractions of the 1939 New York World's Fair. An endurance performance and visualization of collective labor, Kaino’s project tests our physical investment and personal commitment to the realization of creative moments. 

Anish Kapoor | L & M Arts
Anish Kapoor is renowned for his enigmatic sculptural forms that permeate physical and psychological space. Throughout his oeuvre, Kapoor has explored what he sees as deep-rooted metaphysical polarities: presence and absence, being and non-being, place and non-place, and the solid and the intangible. For Kapoor, the passage from emptiness to fullness must be physicalized in material. The artist began working with limestone and marble in 1987. The early 1990s saw the first explorations of the formal and spiritual possibilities granted by the use of the void. In 'Black Stones, Human Bones' the means of central voids function as index or trace, and these two marble elements bear the impact of a sublime being asserting itself on the solid forms of nature. 

Robert Melee | Andrew Kreps Gallery
Rober t Melee's bronze sculpture entitled 'It Sitting' is one of a group of four large-scale bronze sculptures doused in nautical paint. All are vast forms that, while amorphous and featureless, seem familiar in their generalized characteristics and poses – slouching, sitting, pointing, standing upright – but also retain a haunting sense of disguise and alluring somberness. The artist's choice of ‘It‘ in the title refers to a non gender-specific figurative form and reminds us that the work is, in fact, a generic featureless mass. This direction, as well as the medium, pushes the sculpture towards the grotesque, challenging the ‘idealized form‘ often represented in traditional figurative art.

Anthony Pearson | David Kordansky Gallery
The latest in Anthony Pearson's series of Transmission works, is the result of a process that begins with ink drawing, passes through photography and digital imaging software, and ends as a monumental abstract form. When seen from the front, the sculpture reflects its origins as a drawn composition; it flattens out and can be read as a linear composition in space. However, when the viewer circles the sculpture from an angle, it reveals itself to be a three-dimensinal form. Pearson makes use of photography and casting techniques to navigate abstraction. He focuses on the alchemical relationship between materials, and uses them to create an idiosyncratic but rigorous formal vocabulary for disparate kinds of imagery. 

George Rickey | Marlborough Gallery
'Two Lines Oblique Gyratory II,' is a classic example of George Rickey's oeuvre and a demonstration of the artist's mastery and use of monumental scale. Rickey’s iconic kinetic works were the consequence of experiments with wire and metal that began during his service in World War II. By the late 1950s and 1960s he reduced sculptural forms to simple, geometric shapes such as rectangles, trapezoids, cubes, and lines, largely limiting his materials to stainless steel. Thus, Rickey created a body of work that is a mesmerizing combination of Minimalism and movement.

Eva Rothschild | Stuart Shave/Modern Art
As part of Art Public, Stuart Shave/Modern Art presents 'Living Spring' by London-based artist Eva Rothschild. 'Living Spring' jumps fully formed from the earth, colors moderating and switching, confusing the eye as it travels between earth and air. A branch dividing and reaching upwards potentially rooted in land or sky

Eduardo Sarabia | Proyectos Monclova
The title of Eduardo Sarabia's work at Art Public references the identity cards stored with archeological objects. In this case the 'archeological' object is a snake-skinned boot which can be related to a drug lord, referencing the drug conflicts in (Northern) Mexico. The artwork only hints at the drug trafficking conflicts. A pair of snake skin boots can be perceived as an identifier of a powerful outlawed class, directly related to a much bigger and more complex political situation. The artist creates fake evidence of an unfolding event, in a commemorating and somehow mocking way. The viewer must enter the artist’s fantastic realm in order to understand the information found in documentation and the communicating power of certain objects. 

Banks Violette | Team Gallery
'Not yet titled' is Banks Violette's first outdoor sculpture. Constructed as a shiny black barrier whose modular nature fractures. The work embodies Violette's deep interest in minimalist form and staged tragedy using New Gothic and Black metal iconography of cruelty, violence and death. The splintered edge of the sculpture punctures the ground and juts into the air, assuming the appearance of wreckage. In line with his large-scale sculptures of screens partly crushed and his ghostly graphite drawings of crashed cars, the outdoor sculpture, while abstract, resonates as a roadside barrier destroyed in a critical collision.

Zhang Huan | Blum & Poe
'49 Days No. 1' one of twelve monumental sculptures by Zhang Huan, is comprised of salvaged bricks collected from demolition sites surrounding Shanghai. The eleven foot tall pig bearing a house on its back alludes to Zhu Gangqiang, or the ’Cast - Iron Pig,’ now famous for having survived 49 days under rubble following China's 2008 Sichuan earthquake. Upon hearing the story of its fortitude, Zhang negotiated the pig's purchase, adopted it, employed a full time care-taker and made its likeness a central component of his body of work.

Anish Kapoor's Espresso Cup and Saucer?, 2011
Anish Kapoor's Espresso Cup and Saucer?, 2011

From this New York Times story here and available on the Illy website here:

The latest addition to the Illy artist cup collection offers a glimpse of infinity to go with your espresso.

Designed by the artist Anish Kapoor, the cup and its matching saucer have a reflective platinum finish. But the saucer also has a hole in the center, and “if you put the saucer over the cup and look in, you can’t understand the limits of the space,” said Carlo Bach, the company’s art director. It “looks like a sculpture of Anish Kapoor,” he said.

The collection is 19 years old; previous participants include Julian Schnabel, Marina Abramovic and Pedro Almodóvar.

Mr. Kapoor’s creation comes as a set of two espresso cups and saucers ($90), in a numbered, limited edition of 20,000. It will be shipped in September, but orders are being accepted now.

Old News: Dominic Sidhu's Black Swan-Inspired Show at Regen Projects

This Black Swan-inspired exhibit at Los Angeles' Regen Projects took place earlier in the year and included artists such as Glenn Ligon who I met briefly in Brooklyn last year. From this earlier Artweek LA story:

Regen Projects is pleased to announce "Black Swan" an exhibition curated by Dominic Sidhu, including works by Matthew Barney, Walead Beshty, Gardar Eide Einarsson, Katharina Fritsch, Douglas Gordon, Dan Graham, Wade Guyton, Pierre Huyghe, Sergej Jensen, Anish Kapoor, Karen Kilimnik, Rachel Kneebone, Glenn Ligon, Nick Mauss, Richard Phillips, Richard Prince, Ugo Rondinone, Wolfgang Tillmans, Banks Violette, and Christopher Wool.

Dominic Sidhu curated a series of contemporary artworks that appear within the sets of the film Black Swan. In the film, the artworks exist in a subliminal character state and underscore the protagonist's transformation from woman to swan. For the exhibition, Sidhu interrogates metaphysical interpretations of the myth of Swan Lake: with the white swan seen as purity, entrapment, transition, mortality, and prologue; and the black swan as instinct, sexuality, deception, transparency, and escape. A meditation on apparition versus reality, the exhibition explores the psychological broken mirror between the white swan and the black swan through a primarily black, white, and silver palette. Inflected with themes of redemption, abjection, and alterity, the philosophical underpinnings of the exhibition explore the uncomfortable space between presumed opposites. In the spirit of the Ballet Russes, the exhibition deconstructs the conceptual implications of the fable in a contemporary exegesis.

 

Royal Academy of Art Summer Exhibition 2011

While in Europe for the Venice Biennale earlier this month, I took a quick Ryan Air flight from Venice to London to catch the Royal Academy of Arts opening for their Summer Exhibition. If you haven't yet made it to this exhibition, I highly recommend you do. Not only did I discover some new great emerging artists, I was also thrilled to see works by established Royal Academicians including: Tacita Dean, Gary Hume, Allen Jones, Cornelia Parker, Jenny Saville, Anish Kapoor, Jeff Koons,Tracey Emin, Ed Ruscha, Lisa Milroy, Tony Cragg, Richard Long,  and Alison Wilding.

Other artists (both emerging and established) I enjoyed: Gary Fabian Miller, Julian Opie, Tony Bevan, Mimmo Paladino, Frank Auerbach, James Hugonin, John Cobb, David Nash, Dae H Kwon, Nigel Hall, Keith Tyson, Katsutoshi Yuasa,Tessa Jaray, Wendy Smith, Laurence Haskell, Trevor Sutton, Jane Bustin, and Antony Gormley - as well as quite a few others. 

Here is a bit more info on the show from the RAA's website:

This year’s co-ordinator is Royal Academician Christopher Le Brun. Playing a significant role is Michael Craig-Martin RA who is curating one of the largest galleries. The Architecture Room is curated by Piers Gough RA and Alan Stanton RA.

One of the founding principles of the Royal Academy of Arts was to 'mount an annual exhibition open to all artists of distinguished merit' to finance the training of young artists in the RA Schools. This has been held every year without interruption since 1769 and continues to play a significant part in raising funds to finance the students. The Royal Academy receives no public funding so all those who support the Summer Exhibition by submitting work, visiting it and through purchases contribute to supporting artists of the future.

The largest space in the Royal Academy features a new approach to a traditional “salon hang”. This includes a mix of open submission works as well as artworks by Royal Academicians. A dense and rich visual experience is created through the presentation of works hung from dado rail to picture rail. Works on display include a large canvas by the Danish painter Per Kirkeby and Keith Tyson’s apocalyptic painting Deep Impact.

The Summer Exhibition attracts a high volume of entrants each year with over 12,000 entries received this year from 27 countries. The majority of works are for sale, offering visitors an unrivalled opportunity to purchase original artwork by high profile and up-and-coming artists. Michael Craig-Martin’s curated room features works by newly elected and established Royal Academicians including Tacita Dean, Gary Hume, Allen Jones, Cornelia Parker, Jenny Saville and Alison Wilding. Craig-Martin has also curated the Wohl Central Hall which greets visitors on arrival with a celebration of photography. For the first time these walls are hung solely with the work of artists who use photographic media including an image by Cindy Sherman Hon RA.

This exhibition runs through August 15, 2011.

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