Have a Heart... of Darkness pendant by Solange Azagury-Partridge

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Have a Heart... of Darkness pendant by Solange Azagury-Partridge

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Track of the Day - Roman Remains - This Stone Is Starting To Bleed
TRASH: 12 HOUR PARTY LAUNCH
Trash blasts onto the scene this weekend, inviting all night revellers to the launch of their first 12 hour party at Zinc, housed on the 31st floor of London’s Centre Point building on New Oxford Street.
The immersive new brand promises to push boundaries and go against the norm, with a club night that runs from 11.30pm until 11.30am and breakfast for those who manage to stay to watch the sunrise over the London skyline. Trash will be bringing a touch of warehouse party to Central London, with a stylish yet nonconformist crowd, quirky entertainment and incredible views over London.
The launch party will feature big names and fresh up and coming DJs playing Deep/Prog/Funky House, with live DJ performances from the likes of Hot Creations, Mineo (ex Audio Bullys), Benson Herbert (one half of London based duo, Voyeur). Other attractions include the 360 degree view of London together with a chill out napping zone for those brave enough to keep going past sunrise over the capital. Zinc is open Friday and Saturday evenings, playing a unique blend of House and Electro. A snake inspired chaise longue winds its way along an entire side of the lounge, fret working adorns the walls and a 10ft Tom Dixon designed zinc bar features a futuristic panelling design.
Trash aims to revolutionise the party scene by bringing the rebellious East London vibe to the west. Trash The Launch Saturday 25th January- Sunday 26th January 2014 11.30pm-11.30am Zinc Centre Point 101-103 New Oxford Street London , WC1A 1DD Tickets available here: https://trashlaunch.eventbrite.co.uk/ Tickets. Early bird £10 Standard Ticket £12.50
Track of the Day - The Orwells - Dirty Sheets
WHITE LIES: BEST ART VINYL 2013
White Lies’ latest record Big TV was the winning canvas for the Best Art Vinyl 2013 award. The public voted Michael Kagan’s oil painting on the vinyl cover to number one. In second place is Repent Replenish Repeat by Dan le Sac vs Scroobius Pip with artwork by Paul Jackson, followed by Bonobo’s North Borders designed by Leif Podhajsky in third.
The band, who came 7th in Best Art Vinyl 2009 with their To Lose My Life record cover, approached Kagan about using his painting ‘Pilot 2’ depicting a man in a space suit for their 2013 release. “From the beginning, the band was very sincere and I could tell immediately how connected they felt to the painting and how it was important for them to use it,” explained Michael Kagan. The painting, which is an oil on canvas, forms part of a series of paintings portraying astronauts created by Kagan in 2010. Among them are astronauts from the early space initiative ‘Project Mercury’ highlighting Kagan’s predisposition to revolve his work around iconic images.
“It’s been a very exciting experience for me to see my artwork used in this way,” said Kagan. “After seeing their show, I could see how the painting had really become a symbol of the band and the new album. There is a nice cohesiveness between all of the images used and the songs and feel of the album.”
The second and third place record covers were both specifically designed for their purpose, with the designers creating something concrete out of the musicians’ visions.
Paul Jackson, designer of the cover to ‘Repent Replenish Repeat’ by Dan le Sac Vs Scroobius Pip explains his design: “The animals represent each artist, Scroobius Pip is the lion and Dan Le Sac is the panda. These are their favourite animals. They wanted to use them in some way but weren't entirely sure how so I came up with the idea of them vomiting up a whole world of stuff - essentially representing what Scroobius Pip does - vomits words and ideas into a microphone. The idea seemed visually arresting and interesting enough to turn heads - which to me is what a good album cover does.”
Bonobo’s record cover was voted the public’s third favourite cover for 2013: “We actually started off down the more traditional 'clean photo' route which you see on Bonobo’s previous release,” explains designer Leif Podhajsky. “I snuck some more abstract ideas in which I thought could really fit the mood of the album which Simon responded to. We had a chat about how he saw the album and the ideas he was exploring. We really wanted the album and singles to have a common thread which tied them all together.”
Previous winners, pictured above, were The Temper Trap (2012), Bright Eyes (2011), Klaxons (2010), Muse (2009), Fleet Foxes (2008), The Cribs (2007), Thom Yorke (2006), and Hard-Fi (2005).
The award, founded to celebrate the best in art, photography and graphic design in modern music culture, shortlists 50 record covers in the search for the most creative and well-designed record cover of the year. The winning designs are decided by public vote. In its ninth year, nominations for Best Art Vinyl 2013 included artwork by designers such as Damien Hirst and Vanessa da Silva among records by musicians like Elton John and Paul McCartney.
The nominations and winners are on display through exhibitions in Malmaison hotels in Birmingham, London and Oxford until 31 January 2014. www.malmaison.com.

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Track of the Day - Moko - Freeze
THE DONNELLY BROTHERS: STILL BREATHING (BUT MIGHT NEED AIR)
Last week saw the London book launch of Still Breathing - The True Adventures of the Donnelly Brothers; and whether they were ready or not, the southern softies (a slightly harder bunch maybe) were treated to a dose of Donnelly mayhem at Casa Negra’s Playroom on Great Eastern Street.
Brothers Anthony and Christopher Donnelly were raised in and amongst what was allegedly one of the UK’s most legendary and elusive crime families – Manchester’s Quality Street Gang. How they found riches and fame with their fashion label Gio-Goi is one of the more unconventional and compelling stories in the history of the rag trade. They were called both ‘ambassadors for a generation’ by Vivienne Westwood and ‘a menace to society’ by Parliament.
So if there’s one place to expect the unexpected, it’s at a party held by the Donnelly’s. The brothers were pioneers of the Acid House scene in Manchester and count Happy Mondays, New Order and The Stone Roses as both their friends and brand ambassadors. No surprise then when Keith Allen literally blasted into the party in highly inebriated spirits. Like, drenched in them. He was joined by daughter Lily Allen (in a supporting role) with other notable guests including Plan B, Jamie Winstone, Graeme Park, Mike Pickering, Joe and Deaks of The Heartbreaks, and football hooligan turned respectable author, Cass Pennant.
Mancunian poet Mike Garry (don’t talk over him unless you want to be branded a cunt) was asked to write a poem to recite for the Donnelly’s launch. He apparently relayed this request to his girlfriend, who immediately hit him back with “well you’ve got no fucking choice then”. As a warm-up, the crowd was treated to a poem about their late mutual friend Tony Wilson of The Haçienda, entitled Saint Anthony; then followed his ode to the Donnelly’s, which he declared “is not even about them”.
The brothers took to the floor for an interview with Luke Bainbridge who picked up on some of the stories in their biography. Apparently, the name Gio-Goi (despite mugging people off with random anecdotes along the way) was picked out of a Vietnamese dictionary. A pin homed in on the word Gio and Goi was found underneath it. Anthony coined the name: “It sounds like Giorgio Armani, why don’t we just have it as Gio-Goi?” But not to pass if off as the brand, more to ride on the familiarity.
You’ll have to pick up a copy to read more, but as a taster, in 1994 Anthony and Chris were arrested as part of a huge police investigation into the Quality Street Gang. The Donnelly Brothers lost everything amid lurid ‘drugs and guns’ headlines, then after years in the wilderness, they made a remarkable comeback in 2005 with Pete Doherty (then dating Kate Moss) designing a high-profile collection for the re-launched Gio-Goi. Further attention-grabbing headlines featuring Robbie Williams, Arctic Monkeys, Liam Gallagher, Kasabian, Rihanna, Amy Winehouse, Plan B, Calvin Harris and Deadmau5 emphasized the label’s runaway success.
The Donnelly Brothers were more notorious than ever as Gio-Goi hit the top of The Sunday Times Fast Track 100 in 2009 with a £19 million turnover (and would peak at £40 million annual turnover). They bought a pub, promoted club nights in Ibiza with Cream, made award winning pop videos and launched new fashion label, Your Own [YO]. Gio-Goi was hit by further scandal in 2013 and a spectacular crash saw investors, including The Donnelly Brothers, lose millions. The saga of the brand continues…
Still Breathing - The True Adventures of the Donnelly Brothers is available from Amazon
Co-author Simon Spence collaborated with Andrew Loog Oldham on the acclaimed memoirs Stoned and 2 Stoned. His 2012 biography of The Stone Roses, War and Peace, was ‘pop book of the year’ in the Financial Times, BBC 6 Music ‘book of the month’ and ‘Book of the Week’ in The Times.
Photos: Daniel Dempsey
Words: Sarah Hardy (also blogged at Huffington Post UK)
LUKE HART: ON THE ANATOMY OF SCULPTURE
Sculptor Luke Hart blends raw industrial materials into fine art with a core functional purpose. His work has been exhibited worldwide with his first solo exhibition, Joinery, currently on show at Tim Sheward Projects in London’s Bankside.
Hart graduated from the Pratt Institute, New York in 2007 before completing his MA in Sculpture at the Royal College of Art this year. #MAG catches up with the London artist to discover the drive and inspiration behind his very technical looking masterpieces.
Have you always taken a very mechanical approach to sculpture?
Only in a superficial respect. I came to sculpture through an interest in anatomy, and for a while I was focused on biological form, but only really in terms of the surface of that form. Throughout this period I was always seeking to find a way to allow the work itself to take on its own existence in the world, to justify itself and allow the work to perform an action, I tried a wide variety of methods to do this, most of which failed. I eventually discovered a method of creating chemical bonds between cast rubber, which I knew a lot about, and steel, about which I knew little, and by utilising this process to join two pieces of steel by way of a piece of rubber which had enough room to allow the steel parts to flex in relation to each other I felt that I had discovered what I had been failing to do with the anatomical work, the piece could simply bend, and that was enough of a potential action, or perhaps function, for me to think that the work was inhabiting the world at large, rather than simply the world of art.
In so much as an elbow or a hip joint is mechanical, my interests have always been mechanical, but by allowing the actual mechanical process of the work to take over, I think that the work has become more successful, and it has led my interests in more mechanical, more functional, directions.
What are your favoured materials?
I clearly have a fondness for rubber, which I think is wonderful stuff that has more potential uses than industry currently exploits. This is understandable, as rubber is expensive and difficult to work with, but I don't think that this should necessarily be prohibitive to experimentation. Prior to the invention of synthetic rubber, natural rubber was so expensive and difficult to harvest, that it led to what was essentially slave labour in the countries where it grew, to Henry Ford establishing an artificial, and failure, of a city in Brazil, and to near wars between colonial powers. Synthetic rubber is also problematic, as it is a derivative of oil, but there are more sustainable alternatives, which are not yet being used to produce rubber in the ways that they will have to in the future. That said I think that it is dangerous for a sculptor to favour a single material too heavily, we're no longer in the time when one can simply work one medium, because what we do now is not produce images, or pictures, based on manipulating a material, but, hopefully, try to combine types of stuff in interesting methods and configurations based around the confines of a specific problem. What that problem is can be anything from a purely functional issue relating to advancing human making, or it can be purely sculptural. I'm also quite fond of steel, and of wood and cabinet making, but I hope that none of these things could be said to sum up my practice.
Your larger exhibits at TSP look like they could form part of a construction, do they work in reality?
The two larger sculptural joints(Fractal Weave Joint III and Fractal Weave Joint IV) in the exhibition are part of a body of work called Fractal Weave Structure I, which is also a single work in itself. They are components of a structure that is composed of large pieces of steel tube section, and the joints on show. The work has three legs, which are bolted to the floor, and each leg is composed of two flexible rubber joints which bend into place before the keystone (FWJ IV) is bolted into the top of the dome. The joints themselves function both in terms of flexing to allow the larger work to be put together, as well as structurally. When it is assembled there is about a half-ton of steel supported above the viewer entirely by the rubber joints. In terms of performing that action they work quite well, there is even a fail safe built into their design, when rubber splits, a small split can travel through the whole form very quickly, if the joints were solid, they would perhaps be stronger, but a single split could easily bring the whole structure down by breaking any of the individual joints. The weave pattern ensures that a split in any one section of weave cannot travel through the entire joint, so even if one piece of rubber fails, the whole structure will still be sound, albeit flexible.
Do the sculptures presented in boxes have an actual function for use?
Not at the moment, but potentially. The smaller works are experiments, both in thought and formal arrangement of multiple parts of steel bonded by parts of cast rubber, which then informs how I think about the larger works. They may not have an immediate use-value, but I believe that they function in the same manner that the larger works function.
In comparison to the larger orange/steel pieces, the sculptures you create as a cast for the finished products are quite elegant; can you explain the process from one to the other?
The initial hand worked masters, which mould-makers refer to as a pattern, are made from steel, so that the mould later on fits the same way around the pattern as it does around the part of steel inserted into the mould to be bonded, and from car body filler. The filler is a lovely material that is generally used to repair holes or dents in the bodies of cars, but which I find my favourite material for modelling in. When it is fresh it can be sculpted almost like clay or wax, but once it hardens, it is strong enough to support the weight of the steel parts, and hard enough to be carved, almost like soft stone, a process for which I still use my old stone carving tools. For the Fractal Weave Joints I carve the patterns by hand, after designing them by drawing and making small maquettes to work out the logic of the weave, each of those usually takes a couple of months, and this process creates an intimate relationship with the form of the joint, in both this state and the finished cast. The patterns are then covered in layers of silicone rubber to create a mould, then fibreglass to support that flexible mould, then the whole thing is taken apart, re-assembled with the new treated steel parts, and injected with liquid rubber, that cures and bonds with the steel. While I have a great intimacy with the patterns, which comes from working on them for extended periods, and I appreciate that viewers are often interested by them, sometimes to the point of preferring them to the rubber works, I don't consider them finished works, just studio detritus.
Where do you see your sculptures having a home?
Generally each of the works has its own portable home, in the form of its own purpose built box. I like the idea of them travelling in their own protective cases to wherever they need to be (like a carpenter's tools,) sometimes being used, sometimes just being looked at. That said, I think that many of the works can inhabit any space, even domestic space, quite well utilising the built in methods of display inherent in the boxes, but they can also be assembled into greater structures, which can sit in landscape, (once there is a proper treatment on the exposed steel) or indoors. I'm quite partial to seeing the work in abandoned industrial space, either indoors or outdoors.
Where do you find your inspiration?
On the street, in cities, in looking at anything that has been put together by a human being. It is possible to trace someone's thought process in looking at something that they made, every single little detail was once a person's conscious decision, and reading those decisions is very enjoyable. The same can be said of looking at drawings. When we look at drawings, we're tracing the thoughts of the person who made the drawing, and if one has ever made a drawing (and I think that we all have at some point in our lives) then one can compare the decisions that the draughtsperson made with those that one might make oneself. This is the joy of looking at art, but it is also the joy of looking at anything.
What are you working on at the moment?
An extrapolation of a small work that I made nearly two years ago called Plate Joint, it was a simple, early example of bonding two pieces of steel plate, and setting the bend at a complex angle with a piece of wire. I'm currently making the thing larger and inverting it so that is sits on an uneven surface as a type of bridge. At the scale of a bridge it could be fabricated in a workshop and installed at a site by crane, the bridge itself would adjust to rest on whatever terrain it was required to. I'm building what I call a functional maquette for it, which behaves exactly the way that a full scale work would, but also works as a model.
If you could build anything what would it be?
I have drawings for structures which, while on land, are entirely floating. Picture a large building with an enormous cavernous space below ground level, through this cavern, are the pylons which support the whole building, but rather than being forced into the bedrock below or into a concrete foundation, the pylons are all connected to a structure similar to a ship's hull, extrapolated and expanded to resemble the footprint of the building and floating in a non-corrosive liquid, such as a type of oil. This is all then floating in channels which again mirror the building's footprint. If done right, the building could be entirely structurally sound, and yet nearly immune from shifts in landscape, or even, potentially, from tectonic tremors or earthquakes. I'm playing with floating structure in a number of ways right now, but this is a long term vision.
Luke Hart | Joinery runs 08 Nov to 07 Dec 2013 @ Tim Sheward Projects
Track of the Day - Fake Club - Midnight At KOKO
GENIUS: FILM MUSIC BY LONDON PHILHARMONIC ORCHESTRA
The piercing shrill of violins in the familiar soundtrack to Alfred Hitchcock’s Psycho was not the only hit at the London Philharmonic Orchestra’s recent performance of film music at Royal Festival Hall. The Genius of Film 1960-1980 also covered favourites from The Godfather, Star Trek, Cleopatra, The Ride of the Cossacks and Mutiny on the Bounty.
Part one of the two-part concert celebration of seminal film scores focused on Hollywood and the golden age of movie music. The shift to ‘talkies’ and the arrival of hundreds of émigré musicians from the great orchestras of central Europe formed a perfect storm of creativity. As Alex Ross observed in The Rest is Noise, the book which inspired the festival, an actress could hardly serve a cup of coffee in a mid-century movie “without having fifty strings swoop in to assist her.”
Music from Waxman (Ride of the Cossacks), Herrmann (Psycho), North (Cleopatra) and Rota (The Godfather) display some of the most emotional and involving orchestral music ever written. Conducting them was legendary Hollywood Bowl conductor and arranger John Mauceri, winner of Grammys, Emmy, Tony and Olivier awards.
The audience were treated to two encores, the first by Maurice Jarre (1924-2009): Lawrence of Arabia (dir. David Lean, feat. Peter O’Toole) – the LPO’s cellist Santiago Carvalho being a member of the orchestra when they recorded Jarre’s score in 1962 – and ‘Amapola’ from Once Upon a Time in America by Ennio Morricone (b. 1928) arr. Henry Mancini.
The second concert on Friday 29 November continues from 1980-2000. ‘If it weren’t for the movies,’ multi Oscar-winning composer John Williams commented recently, ‘nobody would be able to write this kind of music any more’ — by which he meant the spectacular, colourful, evocative film scores written since the emergence of full-colour pictures and penetrating stereo sound. From Williams’ own supercharged soundscape for Star Wars to the high-jinks, chases and jokes of John Powell and Harry Gregson-Williams’s music for Wallace and Gromit’s caper Chicken Run, this concert unleashes the power of the film score in all its orchestral brilliance. Internationally-acclaimed composer/conductor Dirk Brossé conducts.
Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly. It also works with the Hollywood and UK film industries, having recorded soundtracks for blockbuster films for almost 50 years including Lawrence of Arabia and, most recently, Iron Man 3 and The Hobbit, a follow-up to the Oscar-winning score for The Lord of the Rings trilogy.
Don’t miss part two – The Genius of Film Music 1980-2000, Friday 29 November 2013

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Track of the Day - Polica - Spilling Lines
PINHOLE PHOTOGRAPHY: A VINTAGE FEEL
As generation digital seek new ways to get their hands dirty with a vintage feel, #MAG catches up with Brighton graduate Kelly Angood on her launch of The Videre – a true camera enthusiast gem.
The Videre is a pinhole camera designed and built by Angood and sold as a kit for arty camera enthusiasts to create from scratch. Angood was able to launch the product to market after raising over £35,000 from 881 backers on Kickstarter – more than double her target amount of £15,000.
What inspired you to create The Videre?
I've been making pinhole cameras for a while. Really, I was inspired by peoples interest in what I was doing- if it wasn't people asking if my cameras were for sale or if they could have the plans to make their own I don't think I would have pushed the idea any further than a personal project. That, and a love of craft and photography.
What’s in the name?
Videre is the Latin word for 'to see’; I liked how it related photography. There is also some entomology that refers to it as meaning 'to force apart, and to distribute'. For me, the whole project has gone from being a very inward looking personal project to one that's got a community right at the heart of it, so it worked for me on this level too. All that, and simple the fact that for me it's just quite a satisfying word!
Who needs a Videre in their life?
Anyone who's interested in learning about the fundamentals of photography and feels as though they need a bit of a digital detox. We spend so much time in front of a screen, I think it's nice to get away for a while and use our brains in a different way. These days we're wired to the internet 24/7 and I think it affects us a lot more than we think.
How long does it take to create your own Videre camera?
From the feedback I’ve had from Kickstarter backers and customers it takes between an hour and four. I think it all depends on your personal pace and how used to making things you are. Lots of people have done it as a weekend project, dipping in and out- that seems to me like quite a nice way to approach it.
What is the exposure time needed per shot?
The exposure time ranges from a couple of seconds, to over a minute. It all depends on what speed film you are using and what the light conditions are. For example on a bright, sunny day with a 400 speed film the exposure time may be as little as a second.
How long is the life of a Videre? (It looks fragile…)
They are actually remarkably strong, I've used around 20 or so films in the original prototype and it's still totally fine. As long as you don't take it out in the rain, it should last. The recycled card it's made from is actually surprisingly strong.
Do you need access to a ‘dark room’ to develop your film?
No! You can send your film to the lab, or you can easily develop black and white film at home. Since starting this project I've never used a dark room, preferring to develop at home with some basic kit. You just need a developing tank, a changing bag and some chemicals- there is a bit of an outlay at the beginning but overall it's much cheaper than using the lab. There are lots of great tutorials on the internet that you can follow. I taught myself using them, and if I can anyone can. Also, I like the idea of seeing the whole process from start to finish. Making the camera, shooting the film, and developing it yourself- it feels full circle, and something totally detached from the digital age we live it.
Why bother with traditional pinhole photography in the digital age?
Why not? The results you can get are really unparalleled, and it helps develop an understanding that can actually help you improve your digital photography. I'm really an advocate of both; they work together in my eyes.
What’s next?
I'm interested in developing a camera specifically for schools and children and workshops to sit alongside them. The project touches on so many educational subjects, from science, to art, to technology that I don't want to miss the opportunity of teaching the next generation of digital natives about the fundamentals of photography.
Can you please share your favourite pinhole photograph with us?
I love Sheila Bocchine- some of her photos are incredible. Some of my favourites of hers are from series called 'Sleeping. Dreaming.' where she captures places she sleeps all over the world with long exposures. Her colours are also incredible.
The Videre kit includes a spare medium format spool, reclaimed from some of the best darkrooms in London, and a precision laser-cut 0.4mm pinhole, along with instructions and everything else required to make your very own Videre. All you need is the film and some craft glue.
Purchase/pre-order your kit from www.thepopuppinholecompany.com
Each kit is £35.00 GDP, excluding shipping rates.
Track of the Day - Catfish and the Bottlemen - Pacifier
THE TRUTH: SOMETHING BEAUTIFUL
Paloma Faith, along with Album Artists, is curating an art exhibition comprising a selection of her album artwork and iconic imagery since her certified double Platinum debut album, Do You Want The Truth Or Something Beautiful, was released in 2009.
The exhibition at The Gallery in Redchurch Street will display limited edition and critically acclaimed images by photographers David Standish and Finlay Mackay and live photography by Saul. Paloma has been steering the creative direction of her promotional images from the start of her career, with couture, custom made clothing and distinct hair and makeup all being captured in photo form as some of the most dramatic and celebrated album art images available to own.
The works, ranging from 50 cm to 1.6 metres in length, include posters, limited edition high quality prints and very limited large beautifully printed and framed photographs - both the latter signed by Paloma and the photographer. Proceeds from each sale will benefit Kids Company.
The Exhibition runs from 28 November to 1 December and is open from 10am – 8pm
All artworks are also available to view and purchase here: www.albumartists.co.uk
The Gallery in Redchurch Street 50 Redchurch Street, London E2 7DP
Track of the Day - Bipolar Sunshine - Drowning Butterflies

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SEX, GRAPHICS, CONSUMERISM AND SPIRITUALITY
This Friday sees the launch of ‘An Analogue Man in a Digital World (and other stories)’ at London’s Mother on Redchurch Street.’ The gallery presents a selection of paintings based on a methodology of collage and montage, bombarding the viewer with strange juxtapositions of Coke cans, models and pixilated abstractions.
The artist, Anthony John Gray, is a futurist from the past, and as such his work feels remarkably modern: ‘If I had a Square, I would make a Triangle out of a Circle, and put the whole thing in a Cube’.
Gray was one of British painting's most successful exports in the 80s. He held sold out shows in New York and LA, and was made an honorary citizen of Palm Springs for artistic achievement. His large scale paintings adorn the walls of corporate foyers and private collections across the US, the UK and Switzerland. He commands a small legion of fans who gravitate towards his surrealist treatments of sex, graphics, consumerism and spirituality.
Mother is host to Gray's first show in over 15 years, and an artist who has had anything but a smooth ride. The man who once carried a bag filled with $27,000 through Manhattan on the Subway was, in later years, to have his work confiscated by the bank as collateral against unpaid debts by one of his agents. Spikes of notoriety have been interspersed with lows as an artistic recluse. And now this…
An Analogue Man in a Digital World (and other stories)
A selection of paintings by Anthony John Gray
Downstairs at Mother 4th – 15th November 2013
Private View Friday 8th November from 7pm
Mother | 10 Redchurch Street | E2 7DD | [email protected]
Track of the Day - Kins - Aimless