Book Presentation Guido

çĽćĽ / Permanent Vacation

if i look back, i am lost

Kaledo Art
hello vonnie
Three Goblin Art

Origami Around
Claire Keane
KIROKAZE
AnasAbdin
One Nice Bug Per Day
dirt enthusiast
I'd rather be in outer space đ¸

Love Begins
2025 on Tumblr: Trends That Defined the Year
PUT YOUR BEARD IN MY MOUTH

todays bird
noise dept.
Stranger Things
seen from United States

seen from Australia

seen from United States
seen from Norway

seen from New Zealand

seen from Netherlands

seen from Malaysia

seen from TĂźrkiye
seen from South Africa
seen from Czechia

seen from Cyprus
seen from Malaysia

seen from Romania

seen from United States
seen from United States

seen from India
seen from TĂźrkiye

seen from United States
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@londonexcursion2017
Book Presentation Guido

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Book Presentation Maarten
ICA
12 Carlton House Terrace London SW1Y 5AH
Frans Masereel: The City
Presented in the ICA Upper Gallery is Frans Masereelâs early 20th century âwordless novelâ The City. On display are 50 individual woodblock prints from the original edition published in 1925. Alongside this, a second edition (1987) of The City is openly displayed, allowing audiences to read the publication in its entirity.
Universally acknowledged as a precursor to the contemporary graphic novel, The City details the daily encounters of multiple individuals within an anonymous metropolis â observations that are born from Masareelâs experiences whilst living in Berlin, Geneva and Paris. These evocative monochromatic illustrations provide a definitive record of the banalities of everyday life, depicting the social hierarchy, objectification of women, bureaucracy, rituals and practices that defined urban life in the early 1920s and that are arguably still evident today.
Stuart Middleton: Beat
Stuart Middletonâs exhibition will feature a new video and a site-specific installation developed in response to the architecture of the Lower Gallery. This will involve the removal of existing walls and suspended ceiling in addition to the construction of a wooden platform made from reclaimed domestic floorboards. The structure references the buildings used in modern industrial agriculture to house livestock, upcycled interior design projects and historical site-specific artworks. The scale of the installation foregrounds a critical position on the concept of 'landscape' as a product of human design composed from conflicting ideological positions.
Situated in the Upper Gallery is a new stop-frame animation commissioned by the ICA. The video shows an undernourished dog moving around in a brightly lit cell that recalls the white-washed austerity of vivisection laboratories, euthanasia clinics and art galleries.
National Gallery
British Library
Gay UK: Love, Law and Liberty
1895, the trial of Oscar Wilde. 2017, the pardoning of gay men by the âAlan Turing Lawâ. How far have we come in 122 years?
Listen to the stories of gay men and women. Explore Sarah Watersâs manuscript notebook for Tipping the Velvet. Take a closer look at the diary of Kenneth Williams.
50 years after the Sexual Offences Act partially decriminalised homosexuality, we look at the build up to this monumental step, its impact, and ask what challenges still remain.
Join in the conversation #BLGayUK
96 Euston Road London NW1 2DB

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Alison Jacques Gallery
16-18 Berners Street London W1T 3LN
ANA MENDIETA: METAMORPHOSIS
Alison Jacques Gallery presents the galleryâs second solo exhibition by Cuban-born artist, Ana Mendieta (b. 1948 Havana, Cuba; d. 1985 New York City, NY). This is the first solo show of Ana Mendietaâs work in the UK since her retrospective Traces, curated by Stephanie Rosenthal at the Hayward Gallery in 2013. This exhibition focuses on the themes of metamorphosis and transformation in Mendietaâs work, from her early performances at the University of Iowa in the 1970s, to her later sculptural work in the first half of the 1980s. This thematic focus includes groundbreaking work in performance and photography, film, drawings and leaf sculptures.
The theme of metamorphosis and transformation also includes camouflage, with a particular focus on the relationship of the body to nature. From 1974 until the early 1980s Mendieta worked outdoors, including a secluded location in rural Iowa, experimenting with natural materials such as moss, mud, grass and water. Later, as we see in the film VolcĂĄn (1979), she incorporated gunpowder into the work, which often resulted in smoking or burning, further emphasising the ephemeral nature of her work. Mendieta described her Siluetas â traces of her body that she outlined onto the ground or impressed into the earth â as âearth-body sculpturesâ. Like her peers Alyce Aycock, Michael Heizer and Robert Morris, whose work focused on associations with the landscape and who often studied archaeological sites, Mendieta made several trips to the ruins of pre-Columbian civilisations in Mexico as well as a visit to the Escaleras de Jaruco caves in her native Cuba. The burial mounds at YĂĄgul, Oaxaca, and the prehistoric caves in Cuba, provided the subject matter as well as the backdrop for Mendietaâs practice, demonstrating the importance of ritual in her work.
Whilst the Siluetas often highlight the absence of Mendieta herself, her body features prominently in this show. Untitled (Facial Hair Transplants), 1972, documents Mendietaâs gradual transfer of male facial hair to her own face, signalling an appropriation of power that she believed to be inherent in a personâs hair. The pioneering nature of these performance photographs, which reference identity politics and gender transformation, precede the work of Cindy Sherman and clearly set a marker for other artists examining themes of self-transformation such as Gillian Wearing.
Mendietaâs work has been the subject of six major museum retrospectives including Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985, Hirshhorn Museum and Sculpture Garden, Washington, DC, 2004, (travelled to Whitney Museum Of American Art, New York, NY; Des Moines Art Center, LA; Miami Art Museum, FL); Traces, The Hayward Gallery, London, 2013, (travelled to Museum der Moderne Salzburg, Austria; Galerie Rudolfinum, Prague, Czech Republic); and Covered in Time and History, Bildmuseet, UmeĂĽ, Sweden, due to open in June 2017, (travelled from Katherine E. Nash Gallery, University of Minnesota, MN; NSU Art Museum Fort Lauderdale, FL; Berkeley Art Museum and Pacific Film Archive, CA). Non-touring solo museum exhibitions include Castello Di Rivoli Museo dâArte, Torino, Italy, 2013, and The Israel Museum, Jerusalem, Israel, 2014. Mendietaâs work has been acquired by major museums worldwide including: Centre Georges Pompidou, Paris; Tate, London; The Museum of Modern Art, NY; The Art Institute of Chicago, IL; The Israel Museum, Jerusalem, Israel; and The Whitney Museum of American Art, NY.
Waddington Custot
11 Cork Street W1S 3LT
Found in America - Chamberlain, Flavin, Indiana
Waddington Custot is pleased to present an exhibition of work from three major American sculptors: John Chamberlain (1927â2011), Dan Flavin (1933â1996) and Robert Indiana (b.1928). Individually, they have each made a notable contribution to the development of sculpture in the twentieth century. Their parallels lie in the conscious use of found objects from an industrialised America, reflecting economics, consumerism and mechanisation. The three sculptors embraced these aspects of American society and revolutionised the concept of sculpture and sculpture-making.
Galerie Thaddaeus Ropac
ELY HOUSE 37 DOVER STREET
Gilbert & George                   DRINKING PIECES & VIDEO SCULPTURE 1972-1973
MARZONA COLLECTION Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â MINIMAL ART FROM THE MARZONA COLLECTION
Joseph Beuys                   SCULPTURE AND EARLY DRAWINGS
Oliver Beer                   NEW PERFORMANCE AND SCULPTURE
Thomas Dane Gallery
3 & 11 Duke Street St James's
Bruce Conner - A MOVIE "When I look at MTV, it seems they must have been students of Conner⌠In the history of art, Bruce Conner will have to be recognised as being one of the great innovators of the Twentieth Century."- Dennis Hopper
After the presentation of Bruce Conner's CROSSROADS in June 2015, Thomas Dane Gallery introduces A MOVIE (1958), the artist's first ever film work, to its London audience.
Hitherto known for his found assemblage works, Conner was one of the most versatile and unpredictable artists of the post-war era, working in photography, painting, drawing, sculpture and film. A MOVIE is the first ever "assemblage film", combining different sources with rapid-fire editing techniques invented by Conner himself, establishing the artist as a pioneer of the genre.
Without ever owning or making use of a camera, Conner re-interpreted Jean Dubuffet's open-ended concept of assemblage to the filmic medium: found footage, some of it being discarded 16mm films purchased at flea markets, or scavenged from camera shops, was assembled to make a moving image work.Defying premeditations of typical filmmaking, Conner counters conventions of the everyday cinematic experience, as he marks the opening of A MOVIE by inserting the headers 'End of Part Four' - a random signifier that from the very beginning turns the structure of film on its head. The subsequent numerical countdown in the formal film leader is followed by the unexpected interruption of a woman taking off her tights. Here, Conner already denies the viewer the thrill of voyeuristic fulfilment, typical for these 1950s striptease scenes. According to Jean-Luc Godard "all one needs to make a movie is a girl and a gun," - a quote that perfectly encapsulates A MOVIE's seemingly casual yet infamous montage.Â
Upon first review, what follows this unusual opening may appear as a cacophonous juxtaposition of narrative and spatially unrelated shots of iconic imagery: clips of mass destruction, car crashes with drivers dismembered and mutilated, shivering malaria victims and Mussolini's body being hung up at the Piazzale Loreto are interspersed with delicate images of acrobats walking a tight-rope or parachutes floating in wide skies. Over the course of 12 minutes, these scenes (some of them signifiers of American mass culture, which Conner felt alienated from and stood in opposition to throughout his entire career) unfold into a kinetically masterminded apposition.
Much in alignment with his contemporaries like Andy Warhol and Stan Brakhage, film as a pure medium had great significance to the artist and his undertakings in the world of moving image reflect the 1960s structural filmmaker's strive to bring material qualities of film to the foreground. However, contrary to Warhols' tendency to focus on silence and stasis, Conner put emphasis on the medium's ability to translate energy, reminding the viewer that film is nothing but celluloid - a carrier material that reacts to light. A MOVIE's actual subject matter is the editing itself: splicing film, rhythmically and kinetically re-assembling clips replaced glue as the means of holding an assemblage together.
Where Conner's imagery unapologetically addresses the viewer's emotions, he extends and exalts the visual impact by his choice of music. Ottorino Respighi's Pines of Rome, with its intrinsic dynamism, could easily destroy the potency and coherence of image; but instead Conner's astute choice of sound excerpts and enhances the drama inherent in each found scene.
Conner's cinema refashions film and television images into haunting and illuminating textures that unleash and channel the inner, unconscious forces at work within cinema and popular media. A MOVIE is a masterpiece of sensory evocation and carries in its seeming simplicity the weights of Conner's criticism on consumer society and its destructive patterns.
Bruce Conner's (b1933, Kansas - 2008) artistic premises included not to network with the commercial world but pursuing independent path and remaining artistically free. Conner, who studied at Nebraska University and lived mainly in San Francisco, was a singular member of both the underground film community and the flourishing San Francisco art world, achieving international standing early in his career. Always interested in underground movements and whatever ran counter to the times, Conner came to San Francisco on the wave of the Beat Generation of the late 1950s and was an active part of the music scene there in the late 1960s. His all-encompassing retrospectives which travelled from The Museum of Modern Art, New York to San Francisco Museum of Modern Art and The Museo Centro de Arte Reina Sofia, Spain, recognising and celebrating Conner as one of the foremost American artists of the twentieth century.
White Cube Gallery
Mason's Yard
Wayne Thiebaud - 1962 to 2017 âThroughout, although Thiebaud is of course not a Conceptualist, his capacity for creating quasi-serial images that make us think of the difference/likeness between art and life renders him philosophical, thought-provoking and inquisitive. Rather than a de facto ârealistâ, we might better conceive him as an artist who interrogates reality refracted through a deeply knowing lens.â (David Anfam, 2017)
White Cube is pleased to present an exhibition of work by Wayne Thiebaud. One of Americaâs foremost painters, Thiebaudâs career spans seventy years. This comprehensive presentation includes a selection of paintings and works on paper that date from 1962 to 2017.
Thiebaud deals with a uniquely American vernacular in his paintings of everyday food, urban and rural landscapes and people. Often modest in scale, his subject matter is isolated and reduced, becoming the focus for painterly exercises in colour, volume and style. In the artistâs most well-known images of cakes, pastries and pies, begun around 1953, a heightened tactility and viscosity of paint is analogous to the actual objects depicted, a technique he has called âobject transferenceâ. In these paintings, icing swirls are recreated on the surface of the canvas through thick impasto or, in the painting Bakery Case (1996), paint is thickly applied to literally suggest icing swirls. As John Yau has written: âThiebaud conflated the forms and colours of the observable world with those of an imagined one so that they were virtually indistinguishable from each other.â (Thiebaud, Rizzoli, 2015)
Although emerging concurrently with Abstract Expressionism and then Pop Art, Thiebaudâs work stands apart, closer in approach to Edward Hopperâs paintings of urban life or the focused still lifes of CĂŠzanne or Morandi. Thiebaud creates a tension between surface and depth, using a colour palette that ranges from pastel hues to bright, bold tones. In works such as Cherry Topped Desserts (1986) or Cheese Deli (2016â17), bold colour recalls a Fauvist approach, freed from direct descriptive purpose. Ample, blank space is allowed within the compositions and dark shadows around forms are emphasised, a technique used in commercial illustration, which Thiebaud also studied. This creates a sense of grounding and stability within the image but also suggests the disconnection and isolation of modern life. In his portraits, Thiebaud employs a similar approach, placing his sitters against an expanse of blank, white space, with minimal props and pared-down settings, as in the two paintings Sterling Holloway (1965) and Green Dress (1966/2017).
Thiebaudâs landscapes employ dramatic compositions, often aerial views of cliffs or fields with rivers or lakes bisecting the image. Farmed fields are depicted as patterned rectangles, slices or squares set against each other in vivid colours such as in the recent painting Fall Fields (2017). In the painting Y River (1998), the composition is bifurcated by a luminous waterway, snaking vertically upwards, tipping the perspective of the picture plane. Thiebaud relates these images to the experience of driving in America: âIt came about by driving across the country and actually going through those canyons. Those imposing structures seem to just fall in on you and make such a nice visual shape that I can't resist doing them.â Likewise, in the work Lake Edge (1997), the dramatic, snaking edge of land meeting water is the focal point of the image. To its left is a blank expanse of still water and to its right, a series of closely packed agricultural fields, represented through various delicate patterns. By contrast, in the painting Sandy Cliff (2013), washed-out purples, whites and skin tones depict the edge of a cliff, so abstracted and simplified its forms and undulations take on anthropomorphic qualities.
Wayne Thiebaud was born in 1920 in Mesa, Arizona and lives and works in Sacramento, California. He has exhibited extensively including solo exhibitions at Laguna Art Museum, CA, Springville Museum of Art, UT, Palm Springs Art Museum, CA, Loveland Museum, CO and San Jose Museum of Art, CA (a touring exhibition between 2008 â 10); Kemper Museum of Contemporary Art, Kansas City, MO (2003); De Young Fine Arts Museum, San Francisco, CA, Modern Art Museum, Fort Worth, TX, The Phillips Collection, Washington, DC and the Whitney Museum of American Art, New York, NY (a touring exhibition between 2000â 01); SF MOMA, San Francisco, CA, Newport Harbor Art Museum, Newport Beach, CA, Milwaukee Art Museum, WI, Columbus Museum of Art, OH and The Nelson-Atkins Museum of Art, Kansas City, MO (both 1985 â 86).
A fully illustrated publication, with a text by curator and art historian Dr David Anfam, is published to accompany the exhibition.

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The Photographers' Gallery - The Photographers' Gallery
Weâll visit The Photographerâs Gallery June 3!
She Who Sees The Unknown: Ya'jooj Ma'jooj Morehshin Allahyari
Deutsche BĂśrse- Photography Foundation Prize
Roger Mayne
The Royal Academy of Arts, located in the heart of London, is a place where art is made, exhibited and debated.
Weâll visit the RA june 3:
On Show: America after the Fall: Painting in the 1930s Artists responded to rapid social change and economic anxiety with some of the 20th centuryâs most powerful art - brought together now in this once-in-a-generation show.These 45 truly iconic works paint an electrifying portrait of this transformative period. These are works which have rarely been seen together, by artists ranging from Jackson Pollock, Georgia OâKeeffe and Edward Hopper to Thomas Hart Benton, Philip Guston and more. Perhaps the most celebrated work of them all, Grant Woodâs iconic American Gothic (1930), has never left North American shores before. ÂŁ13.50 (without donation ÂŁ12).Â
Futures Found The Real and Imagined Cityscapes of Post-war Britain Through six case studies, proposed by guest curators, the Futures Found display presents the parallel and often conflicting narratives that have developed around a selection of post-war projects since their creation. The display includes references and material drawn from film, music, literature and art, as well as the lived experiences of residents and social activism. Together they challenge the perceived sense of failure of these projects and instead show a much wider and more nuanced view of what this architecture created and inspired. Free.
photographer Anton Rodriguez has documented the interiors of 22 homes at the iconic Barbican Estate in London.
The shop has been redesigned by Friend & Company, and features a craft demonstration area and tiled flooring inspired by the V&Aâs ceramics collection.
Book presentation Kenneth
Presentation will take place at Church of Christ the King, Bloomsbury.

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Presentation Bas
At Isokon Building/gallery (Hampstead)
Only open on the weekends 10-11 june, 11.00-16.00
Lawn Road Hampstead
Presentation Senne
At Saatchi Gallery.
Opening hours: 10am-6pm, 7 days a week, last entry 5:30pm
Duke of York's HQ King's Road
The gallery is 3-4 minutes walk from Sloane Square Underground (District and Circle lines) and 10-12 minutes' walk from Victoria (Victoria, District & Circle lines).