Drawing Biennial 2015

Exhibition: 5 March – 30 April · Auction: 16 April 10am – 30 April 9pm

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Kelly Chorpening

An Old Master

Year 2015
Medium Marker and pencil on paper
Dimensions 29.9 x 21 cm
Bidding Open Thu 16 April, 2015 at 10:00am
Bidding Ended Tue 26 March, 2019 at 9:30pm
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Kelly Chorpening:

Kelly Chorpening (b. 1970, US) lives and works in London. Graduated with BFA from the Cleveland Institute of Art, Cleveland; and MFA from Hunter College, City University of New York, New York. Chorpening was shortlisted for the Derwent Art Prize (2016); and the Jerwood Drawing Prize (2016). She is the Course Leader for BA Drawing at Camberwell College of Arts, London (2006-present). She has also taught at The New School, New York; New York University, New York; King's College London, London; The AA Schools, London; and Trinity Laban Conservatoire of Music and Dance, London. Chorpening has been invited to speak at conferences at Borough Road Gallery, London; ICA, London; The National Gallery, London; RMIT, Melbourne; the American University Dubai, Dubai; and Carnegie Mellon University, Pittsburgh. Her projects developed as books have been published by Studio International (2014); Loughborough University/Marmalade Press (2014); Bright Publications (2012); RGAP and Sint-Lucas Visual Arts (2012); and OPAK, FAK, KULeuven (2012). She is co-editor and contributor to A Companion to Contemporary Drawing, published by Wiley Blackwell (2019). Select solo exhibitions include Immaterial Statements, Horatio Jr., London (2016). Select group exhibitions include Drawing Biennial 2015, Drawing Room, London; Between Thought & Space, CGP London Dilston Grove, London (2015); Fabbrica Europa, Florence (2012); and Voorkamer, Lier (2011). 

Kelly Chorpening's drawing An Old Master relates to a series created for a recent exhibition at Horatio Jr. A Union of Voices where artists’ created books. The drawing relates to the Horatio Jr. book containing a series of drawings depicting the backs of old master paintings, that reveal evidence of their provenance or conservation. This interest in the backs of paintings, in a roundabout way, derives from an intriguing detail in Giotto’s Franciscan Cycle in Assisi (1297-1300) where a cross is depicted from behind. It’s a slim object where one side is meaningful and important, but what we see is surprisingly mundane.