|Medium||Acrylic, watercolour and pen on cut paper|
|Dimensions||20.7 x 29.5 cm|
|Bidding Open||Thu 16 April, 2015 at 10:00am|
|Bidding Ended||Wed 26 April, 2017 at 9:00pm|
Andrew Bick (b. 1963, Coleford, Gloucestershire, UK) lives and works in London. He is a PhD supervisor at Kingston University and University of Gloucestershire and at the latter is Reader in Fine Art. Bick is an artist and curator and through both practice and curation explores the complex and ambivalent nature of our relationship to Modernism. His practice and curatorial work reconfigures principles of concrete art in relation to the social impact and sustainability of contemporary art practice. Since 2008 he has been developing projects based on research in British Construction and Systems Art from the 1950’s to 1970’s, initiated as a result of a Henry Moore Institute Fellowship (2007/08). Career highlights include a solo exhibition for Museum Haus Konstruktiv, Zurich (2017) and the exhibition The Order of Things, co-curated with Jonathan Parsons and Katie Pratt at The Wilson, Cheltenham Art Gallery and Museum (2017). His work was also included in NOW-ISM: Abstraction Today at the Pizzuti Collection, Columbus, Ohio (2015) and he co-curated Conversations with Marlow Moss, for &Model Gallery, Leeds, in association with the Marlow Moss exhibition at Leeds Art Gallery (2014). Major public space exhibitions include Slow Magic, Bluecoat, Liverpool (2009). Bick presented a paper for the TATE Modern conference Abstract Connections, titled Construction and its Shadow, Double agents and split identities in the world of Abstraction, focusing in particular on the work of Anthony Hill and his Dadaist alter-ego Achill Redo (March 2010). He has given papers for seminars at TATE, Leeds Art Gallery and Henry Moore Institute and public gallery talks on artists such as Raoul de Keyser at Whitechapel; Kenneth and Mary Martin and Laura Owens at Camden Arts Centre; Robert Mangold at Parasol Unit; and Norman Dilworth at Huddersfield Art Gallery. He has made commissions in collaboration with architects such as Lifshutz Davidson Sandilands; John McAslan + Partners; and MAKE Architects. He has also written for Art Monthly; Art and Christianity Enquiry; The Brooklyn Rail; Kultureflash; and Abstract Critical. He is currently Chair of the board of Tannery Arts London and on the advisory board of Drawing Room, London. He work is held in public and private collections worldwide, including Haus Konstruktiv, Zurich; The British Museum; Yale Center for British Art; GoMA, Glasgow; Goldman Sachs; Roche Art Collection; UBS; Stalke Collection, Denmark; and Pizzuti Collection, USA. He is represented by Hales Gallery, London and Galerie von Bartha, Basel.