Monumental Sculpture at Château Saint-Maur, Saint-Tropez

This summer, ‘Leaping Hare on Crescent and Bell’ (1988) joins a collection of monumental sculptures at Château Saint-Maur, Saint-Tropez. ⁠ Occupying the picturesque grounds and interiors of the property, the exhibition features over fifty works by artists from the 1920s to the present day. With support from Waddington Custot further works on display include pieces by Ian Davenport, Pablo Reinoso, Bernar Venet and Fabienne Verdier.

Barry Flanagan, Leaping Hare on Crescent and Bell, 1988, at Château Saint-Maur, 2021. Photography: François Fernandez

Portable Sculpture: Fold up, pack down or made on the move sculpture – Lecture by Jo Melvin

Portable sculpture is surely as old as the first vessels for eating and the earliest tools carried by peoples across millennia.  To coincide with the exhibition ‘Portable Sculpture’ at Henry Moore Institute, Leeds (18th May – 29th August), Jo Melvin will deliver a lecture that casts a retrospective glimpse at a few precedents before focusing in particular on representations of currency as a sculptural form and its distribution in contemporary practice. Melvin will show a number of different works to explore these various strategic approaches to sculpture. These will include British artist Richard Deacon’s Blue Forms 1993, PVC vests that were made for a dance collaboration with Hervé Robbe, given to each member of the audience to wear whilst occupying the same space as the dancers; and a multiple by Italian artist, Elisabetta Benassi, Per una lira vendo tutti i sogni miei 2008 (‘for one lira I will sell all my dreams’), a cast of a coin defaced to include a cut out image of Italy that had never been represented on Italian coins.

This lecture will be premiered on YouTube on Wednesday 18 August at 6pm. It will be available to watch on the Henry Moore Institute Website or YouTube channel and will be followed the week after by a live discussion with Dr Jo Melvin on Zoom on Wednesday 25 August at 6pm.

To register for this free event click here.

Claudia Losi, Amulets for Voices, 2021. Courtesy of the artist

Barry Flanagan at von Bartha Opening 21 May

We’re excited to announce that von Bartha in Basel, Switzerland will be opening a solo exhibition of Flanagan’s work from 21 May – 31 July 2021.

Bringing together a diverse range of works by Flanagan from throughout his career, the gallery’s converted garage space will host work across the mediums of film, drawing, photography and sculpture.

Alongside the artist’s iconic hare sculptures, the exhibition will also feature early works which demonstrate Flanagan‘s radical experimentation with materials and some of the core themes which lie at the heart of the his oeuvre such as ‘pataphysics, Shamanism and theatricality.

Installation view including ‘2 space rope sculpture (gr 2sp 60) 6 ’67 [archive copy]’ (1967), ‘Pirate Wheel’ (2005), ‘Mantra of the Awoken Powers’ (1998)

Installation view including ‘4 rahsb 2 ’67’ (1967)

Defining Space Group Exhibition at Waddington Custot until 20 February 2021

Defining Space explores the impact of negative space within the work of 20th and 21st century artists, demonstrating how line and drawing play a crucial role in mapping out imagined spatial configurations.

The works in this group presentation demonstrate the translation of drawing into the three-dimensional; towering monumental installations protrude from the walls, and curl up from floors, while the negative space of the picture plane is variously architecturally structured, or revealed through light and shade.

The exhibition includes works by Peter Blake, Enrico Castellani, Michael Craig-Martin, Ian Davenport, Jean Dubuffet, Barry Flanagan, Peter Halley, Hans Hartung, Frank Stella and Bernar Venet among others.

Installation photo of ‘Small Nijinski Hare’ (1990) courtesy Waddington Custot

Three of Flanagan’s film works screened online for one week only

Three of Flanagan’s film works, ‘a hole in the sea’ (1969), ‘sand girl’ (1970), and ‘bollards project’ (1970) are now available to watch in full, for this week only (until Sunday 13th December), on Kasmin Gallery’s Vimeo Showcase platform.

In 1968 Flanagan began experimenting with film and the effects of light projection. The films he made around this time often show his preoccupation with making work to define presence, absence, the solid and the fragile, the material and immaterial, matters that formed a consistent enquiry throughout Flanagan’s practice.

The films have been made available to celebrate the extension of Flanagan’s exhibition in the Kasmin Gallery Sculpture Garden, viewable from The High Line, now viewable until April 2021.

Click here to view all three films

Still from ‘a hole in the sea’ 16mm colour film, 3 minutes 59 seconds

Still from ‘bollards project’ digital footage, 36 seconds

Still from ‘sand girl’ digital footage, 17 minutes

The Work of Barry Flanagan Online Panel Discussion Tuesday 8th Dec 6pm

Left to right:  Artist Jamie Nares (Photo Kate Simon), curator and writer Dr. Jo Melvin, and art historian Alex Bacon

Tomorrow, Tuesday 8th Dec at 6pm UK time (1pm US EDT), join curator and writer Dr. Jo Melvin, the Director of the Estate of Barry Flanagan, in conversation with artist Jamie Nares and art historian Alex Bacon, on the life and work of Barry Flanagan. This Kasmin Gallery online Zoom event celebrates the ongoing exhibition of work by Barry Flanagan on view in the Kasmin Sculpture Garden, which has recently been extended through to April 2021.

To register in advance click the link below.

Register

The Zoom link will be sent to registered participants in advance. For more information on the panel members visit our website here.

Jo Melvin is a curator and writer, Reader in Fine Art, Chelsea College of Arts, UAL, London and director of the Barry Flanagan Estate. Recent exhibitions include Barry Flanagan retrospective Ikon Gallery Birmingham, 2019. In 2018 she started collaborating with Vittoria Bonifati to form series of exhibitions and other projects such as Villa Lontana, Roma, Sculptureless Sculpure, and Archeologi 2018, MACHISMO 2019 and The Memory Game 2020. These treat the collection of the Fondazione Dino and Ernesta Santarelli as an archive to develop curatorial projects that uses concerns in art practice now as a lens to refocus to investigate notions of contemporaneity and destabilise chronological readings of the past.

Artist Jamie Nares has investigated, challenged, and expanded the boundaries of multi-media practice that encompasses film, music, painting, photography, and performance over the course of a five-decade career. Nares continues to employ various media to explore physicality, motion, and the unfolding of time. Nares has been the subject of numerous solo exhibitions, including at the Metropolitan Museum of Art, New York, and a career-spanning retrospective at the Milwaukee Art Museum in 2019. Nares’ work is included in several prominent public collections, including the Albright-Knox Gallery, Buffalo, NY; The Metropolitan Museum of Art, New York; Museum of Modern Art, New York, and the Whitney Museum of American Art. A career-spanning survey of Nares’ film and video works was presented in 2008 at Anthology Film Archives, New York; and in 2011 at IFC Center, New York. In 2014, Rizzoli published a comprehensive monograph on Nares’s career to date. Nares has lived and worked in New York since 1974 and has been represented by Kasmin since 1991.

Alex Bacon is a Curatorial Associate at the Princeton University Art Museum. He is an art historian based in New York City who regularly writes criticism and organizes exhibitions of both contemporary and historical art. Among his publications Bacon is co-editor, with Hal Foster, of a collection of essays on Richard Hamilton (MIT Press, 2010), as well as the author of texts in various exhibition catalogs and edited volumes on artists such as Francis Alÿs, Mary Corse, Ad Reinhardt, Niele Toroni and Stanley Whitney. He has written for numerous publications, including Artforum.com, Art in America, the Brooklyn Rail, Mousse and Rhizome. He has taught at the School of Visual Arts, and has served as a guest critic in the graduate painting departments of the Rhode Island School of Design and AKV/St. Joost. He has curated numerous exhibitions, the most recent of which is a presentation at Lisson Gallery, New York of the spray paintings and photographs of Roy Colmer. He has spoken at various institutions, including Harvard; the ICA, London; The New Museum; and the Museum für Moderne Kunst, Frankfurt. He is currently completing his PhD in art history at Princeton, with a dissertation on the first decade of Frank Stella’s career.

Kasmin Gallery Sculpture Garden Exhibition Extended and Two Online Events to Celebrate

We are delighted that Flanagan’s exhibition in the Kasmin Gallery Sculpture Garden, viewable from The High Line, has now been extended through to April 2021. To celebrate the announcement, the gallery is hosting two digital events.

On Tuesday 8th December at 6pm UK time (1PM USA Eastern Time) join Dr Jo Melvin, Director of the The Estate of Barry Flanagan, for a panel discussion on the artist’s life and work. To register for this event click here.

From Tuesday 8th through to Sunday 13th December three of Flanagan’s film works, a hole in the sea (1969), sandgirl (1970), and bollards project (1970) will be available to screen via the gallery’s Vimeo Showcase platform.

For more information on the exhibition or the events email [email protected] or visit their website.

Installation view of ‘Monument’ (1996) and ‘Larger Thinker on Computer’ (2003) by Barry Flanagan in the Kasmin Sculpture Garden April 2020 to April 2021. © The Estate of Barry Flanagan. Photo by Diego Flores. Courtesy of Kasmin Gallery.

Installation view of ‘Harebell on Portland stone piers’ (1983) by Barry Flanagan in the Kasmin Sculpture Garden April 2020 to April 2021. © The Estate of Barry Flanagan. Photo by Diego Flores. Courtesy of Kasmin Gallery.

Extrospection at Pi Artworks, London Extended until 5th December 2020

‘Extrospection’ has now been extended until 5th December 2020. Visit piartworks.com to read curator David Thorp’s fascinating essay ‘Examination or observation of what is outside oneself’.

Several works by Flanagan including the film ‘a hole in the sea’ (1969) will be shown alongside those of Fiona Banner, Toby Tobias Kidd, John Latham, Cally Spooner and Anne Tallentire.

For more information visit www.piartworks.com

Installation view of Extrospection at Pi Artworks

Mayfair Sculpture Trail, London, 1 – 31 October 2020

‘Large Troubador’ (2004) will be on display in this years Mayfair Sculpture Trail in London from
1 – 31 October 2020.

The trail presents outstanding artworks in iconic locations, from Bond Street, Cork Street, Burlington Arcade and Berkeley Square to the tree-lined grandeur of Grosvenor Square.

For more information visit mayfairartweekend.com/sculpture-trail/

Supported by Waddington Custot.

‘Large Troubador’ (2004) installed on Cork Street, London. Photo by Barney Hindle. Courtesy Waddington Custot

Extrospection at Pi Artworks, London 1 Oct – 14 Nov 2020

“Conceptual artists leap to conclusions that logic cannot reach” – Sol LeWitt .

‘Extrospection’ opens at Pi Artworks 1 Oct – 14 Nov 2020. Curated by David Thorp this group show will examine how the term Conceptual art has come to be used as a popular catchall for everything that isn’t conventional painting and sculpture. But did Conceptual art actually die in the 70s? Or has it survived as a distinct discipline formed by the extrospective consideration of things external to the artist – putting ideas about art and its place in the world over the artists’ mental and emotional processes?

Several works by Flanagan including ‘Daylight light piece 3 ’69′(1969) (pictured below at &Model, Leeds 2017) will be shown alongside those of Fiona Banner, Toby Tobias Kidd, John Latham, Cally Spooner and Anne Tallentire.

For more information visit www.piartworks.com