#richardsaltoungallery

[shananys]

Some things I liked at Frieze. -Peter Shire at @jeffreydeitchgallery -Narsiso Martinez, winner of the @friezeofficial Impact Award (cc: @charliejamesgallery) -Ferrari Sheppard at @massimodecarlogallery -Yu Honglei at @antenna_space (#currentmood) -William Kentridge at @mariangoodmangallery -Jeremy Moon from 1967 at @luhringaugustine -Barbara Levittoux-Swiderska at @richardsaltoungallery #friezeweek #lartweek #artweekla #barkerhangar #istillmissalac (at The Barker Hangar) https://www.instagram.com/p/CowLbwZOVSk/?igshid=NGJjMDIxMWI=

[andreahamiltonblog]

Romany Eveleigh

Romany Eveleigh was one of the rarest of artists, as a minimal abstractionist who managed to stand out for her uncompromising minimal, text-based vocabulary.

Eveleigh’s most important bodies of work ‘Pages, 1972,’ was a series based on the relationship between language and the body. The repetition of cramped circles populating the Pages series, are emblematic of laborious, repetitive tasks – a contested surface of the feminine realm, as articulated by one of Italy's most important and original philosophers of the post war period, Giorgio Agamben.

The text-based works of the 1970s, exploded into abstracted versions of themselves in the 80s and 90s, with ‘skins’ of ink, paper, and paint on the canvases. The Febo series, 80 drawings made using her left hand, forced her body to go against its natural inclination, and marked her return to painting. Playing with illusion, she painted each work of the series to replicate lined copybook pages, and then executed painterly marks on top. 

The paintings which followed, specifically the large-scale paintings executed between 1993-1997, exhibit a restrained use of colour: monochromatic blocks fill the canvas field in sensual coating, reminiscent of the tightly coiled circles of the Pages of 20 years earlier.

Image 1: Romany Eveleigh, Pages, 1972, Tate

Image 2: Romany Eveleigh, Inland Series No. 5, 2016-2017, Gallery Bellemare Lambert

Image 3: Romany Eveleigh, TO, 2007, Gallery Bellemare Lambert

Image 4: Romany Eveleigh, Untitled, 2006, Gallery Bellemare Lambert

[rynaphotography]

My weekend at @friezeartfair Beautiful sèvres #porcelain in Japanese style part of #friezemasters by the brilliant, talented @oscarhumphries Visual art /performative Art #richardsaltoungallery @annegretsoltau #antiquebooks #manraysketch Soundsuits : #jackshaimangallery @nickcaveart Miracle by #marinaabramovic @marinaabramovicart Beheaded bodies looking at a wall #friezelondon #artfair #londonart #artlover #meandart @friezemasters https://www.instagram.com/p/BopAhHwFKGf/?utm_source=ig_tumblr_share&igshid=1qhone4fqtjcd

[gerardbillet]

PARIS PHOTO : Joel-Peter Witkin : Woman once a bird; Still life Marseilles, Penny Slinger : Eat me, Richard Mosse : Katydid with Nepenthes, Jean_Baptiste Huynh: Kenya, portrait 1, Edward Burtynsky : Tsaus Mountains, Namibia; Salt ponds, Senegal; Oil bunkering, Nigeria, Ebrahim Noroozi : the Lake on itsLast leg (lake Urmia). #grandpalais #parisphoto #parisphotofair #joelpeterwitkin #womanonceabird #stilllife #marseilles #pennyslinger #eatme #richardsaltoungallery #richardmosse #katydid #nepenthes #carliergebauer #jeanbaptistehuynh #kenya #edwardburtynsky #tsaus #namibia #saltponds #senegal #oilbunkering #nigeria #nicholasmetiviergallery #ebrahimnoroozi #lakeurmia #instapic #photooftheday #parismaville (à Paris Photo) https://www.instagram.com/p/B4zYgjOi7Tr/?igshid=1etod6j6f9kh

[randian]

Ulay stealing Carl Spitzweg's famous "The Poor Poet" from the Neue Nationalgalerie. He gave it to a Turkish family. "Irritation – There is a Criminal Touch to Art“ 1976. showingnow at Richard Saltoun gallery in London. #ulay #richardsaltoungallery #randianmagazine #stolenpoetssociety (at Richard Saltoun Gallery) https://www.instagram.com/p/BuD9U0clrAa/?utm_source=ig_tumblr_share&igshid=1p6nfbs719ymb

[pikasus-artenews]

Silvia Giambrone. Thorns

Alla Richard Saltoun Gallery di Londra una mostra su Silvia Giambrone, la giovane artista impegnata nell’indagare la condizione femminile nella società contemporanea.

[katieprattartist]

Couldn’t wait to see this - @bruton_jo and #rosalee at @richardsaltoungallery - so good!!! #jobruton #painting #painters #paintersofinstagram https://www.instagram.com/p/ChrzcOIsr7O/?igshid=NGJjMDIxMWI=

[deemakesjewelry-blog-blog]

International open call for Mother Art Prize 2020 (women and non-binary artists with caring responsibilities). No theme. Media: Paintings, drawings, mixed media, photography, digital arts, sculpture, ceramics, installation, textiles, sound & video Deadline: March 13, 2020 🎨*Repost for @procreateproject↙️ We are beyond excited to be back with the 3rd edition of the Mother Art Prize 2020, the only international prize for women and non-binary artists with caring responsibilities. We have an incredible judging panel and great rewards for 3 artists, thanks to our partners @theshowroomlondon @colart_united @whitehousedagenham @createlondon @richardsaltoungallery and Sylvie Gormezano. The group show featuring up to 20 selected artists will be organised at @_elephantwest in November 2020 with the media partnership of @elephantmagazine Apply now. Deadline 13th of March 2020. Link in Bio [ @procreateproject 💥 #mothers #motherartprize2020 #artaward #womenartists #internationalopencall #contemporaryarts #visualart #londonartscene #womenphotographers #womanempowerment #womeninthearts #latinainthearts #blackgirlmagic #nonbinary #nonbinaryartist #femaleartists #caring #paintersofinstagram #charcoalart #digitalartists #soundart #opencallforartists #mediaarts #mixedmediaartist #conceptualart #contemporaryartist #textilearts #ceramicist #installationarts (at England, London) https://www.instagram.com/p/B8WtxMZFdbF/?igshid=18p1jjnq1dmol

[thegazeofaparisienne]

Paris Photo 2017 by night #francescawoodman (1958-1981) “Caryatid” 1980 @RichardSaltounGallery “Le corpus photographique de Francesca Woodman est évidemment passionnant si on en connaît la fin, mais tout autant si l’on y observe la détermination et la constance avec laquelle l’artiste met en scène le corps dont la disparition passe d’abord par l’exhibition et une sexualité souvent contenue. Une préoccupation dans l’air du temps des années 70 où Francisca Woodman (contemporaine de Robert Mappelthorpe et de Nan Goldin entre autres)  admire particulièrement ses aînés Man ray, Weegee , Diane Arbus…  Ses photographies décrivent un travail d’une maturité incroyablement précoce on peut aussi y trouver une œuvre prometteuse qui n’aura pas eu le temps de s’accomplir : « don’t forget she was a kid » n’a eu de cesse de répéter sa mère après son suicide, elle avait 22 ans ...”Extrait de l’article de @annegwenlesage pour #thegazeofaparisienne .com Photo by @orianeboni #parisphoto #grandpalais #parisphoto2017 @parisphotofair (à Grand Palais)

[kirstensm]

Conceptual Art in Britain (1956-1979). 3/8/16

I went to another conceptual art exhibition called ‘Conceptual Art in Britain (1956-1979)’. The exhibition was held at the Richard Saltoun Gallery and featured the work of Tony Morgan and John Blake. I found the work of Tony Morgan, a photographer from Leicestershire in the UK, really fascinating. I was particularly taken by his series of screen-prints ‘Munich Grass’ and ‘Munich Wall’. I like the way the photographs avoid what might be thought of as typical tourist shots of the city, and instead provide much more of a conceptual piece. I like the visual effects Morgan created by using this box design and the screen-print medium; the box draws the eye to the centre of the photograph,  making the image look as if the box is magnifying the middle of the picture.

[jesskennedy01-blog]

Victor Burgin’s UK76 Exhibition

I also visited Victor Burgin’s UK76 exhibition at the Richard Saltoun gallery. 

‘1976 was the year in which prime minister Harold Wilson resigned; inflation touched 24%; the Chancellor of the Exchequer negotiated a £2.3 billion loan from the International Monetary Fund; and the Punk rock band the Sex Pistols released their debut single Anarchy in the U.K. Emerging from this historic period of economic and societal change UK76 has come to be recognized as the most succinct ideological snapshot of British society of the time. UK76 comprises eleven large photographic prints (each 1 metre high by 1.5 metres in width) overlaid with text. The photographs were originally commissioned from Burgin by the National Community Development Project and Coventry workshop. Burgin subsequently added short texts and captions 'reversed out' over the photographs in ironic reference to fashion magazine spreads. Much of the language of the texts derives from such journals and from British newspapers and advertisements of the day. Burgin's articulation of the style of 'socially concerned' documentary photography together with graphic and rhetorical conventions from mass media was anathema both to the social documentarists of the day and to the proponents of 'art photography'. In addition to its gesture to the street, his practice of postering his works for exhibition staged both the transitoriness of the world 'caught' in snapshots and a rejection of their repurposing as commodities.’

http://www.richardsaltoun.com/exhibitions/45/overview/

[chrisinculture-blog]

Jo Spence 'The Final Project' curated by @davidcampany at #richardsaltoungallery is a must see. I wrote my dissertation on Spence, so it's an absolute a joy to be reminded of how brilliantly creative and honest she was with a camera. She speaks so directly through the lens that I couldn't help but shed a tear tonight. (at Richard Saltoun Gallery)

[pikasus-artenews]

ON HANNAH ARENDT: WHAT IS AUTHORITY?

Mostra alla Richard Saltoun Gallery di Londra.

#art #arte #mostra #exhibition #onhannaharendt #richardsaltoungallery #pikasus #pikasusartenews