TEFAF Online opens today. For this digital edition of the fair, Waddington Custot explores the relationship between collecting and philanthropy through three important artworks: Jean Dubuffet’s ‘La chasse au biscorne’ (1963), Serge Poliakoff’s ‘Composition Abstraite’ (1953) and Barry Flanagan’s ‘Large Boxing Hare on Anvil’ (1984), pictured below.
To coincide with the summer exhibition ‘Portable Sculpture’ at Henry Moore Institute, Leeds (18th May – 29th August), Jo Melvin delivered a lecture ‘Fold up, pack down or made on the move sculpture’ that cast a retrospective glimpse at a few precedents before focusing in particular on her recent project ‘The Feuilleton: I will bear witness: Piggy-backing-from the Edicola’ held in Spoleto, and MACRO, Rome also during the summer.
This lecture first premiered on YouTube on 18 August and was followed the week after with a live discussion between Dr Jo Melvin and HMI Research Curator Clare O’Dowd.
Watch both recordings now on the Henry Moore Institute website here.
Flanagan’s ‘Killary Bay ‘79’ (1979) can now be viewed in The Printed Line at The Beaney, Canterbury. This Arts Council Collection touring exhibition considers how artists have used a variety of printmaking techniques to exploit the potential of the printed line, from the thick velvety line of drypoint and the heavy cross-hatching of etching to delicate wood engraving and boldly coloured screenprints and lithographs
Artists include Frank Auerbach, Patrick Caulfield, Eduardo Chillida, Prunella Clough, Keith Coventry, Derek Boshier, Paul Coldwell, Lizzie Cox, Barry Flanagan, Lucian Freud, Derrick Greaves, Anthony Gross, Gertrude Hermes, David Hockney, Oskar Kokoschka, Kenneth Martin, Henri Matisse, Ben Nicholson, Eduardo Paolozzi, Simon Patterson, Pablo Picasso, Eric Ravilious, Walter Sickert, Richard Smith, Ian Tyson and Rachel Whiteread.
Exhibition runs until 10th October
Table Pieces, a new digital exhibition of sculptural pieces by eight celebrated artists is now viewable online at Waddington Custot. On view are works by Alma Allen, César, Barry Flanagan, Fausto Melotti, Joan Miró, Beverly Pepper, Pablo Reinoso and Antoni Tàpies.
Click here for the online viewing room.
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.
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.
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.
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.
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.
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.
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.