Bringing together artists from different generations and parts of the world, this volume explores the complexities of 'abstraction' in contemporary drawing.
Accompanying Abstract Drawing at Drawing Room, London (20 February–19 April 2014), curated by British artist Richard Deacon, this volume features works that employ various strands of abstract drawing.
This well-illustrated catalogue includes works by internationally renowned artists – from David Batchelor and Eva Hesse to Jackson Pollock and Alison Wilding. Texts by Dawn Ades, Richard Deacon and Anna Lovatt interrogate the convergences and divergences inherent within abstract drawing.
Published by Ridinghouse 2014 in association with Drawing Room, London
27 × 22.5 cm
136 pp, 75 colour ill
Richard Deacon (b. 1949, Bangor, Wales) lives and works in London. Received his BA from St. Martin’s School of Art and MA in Environmental Media from the Royal College of Art, London. Select awards include Turner Prize, Tate Gallery (1987) and the Ernst Franz Vogelmann Prize for Sculpture (2017). Select solo exhibitions include Out of Line-Drawings: 1968-2016, Museum Folkwang, Essen, Germany (2016); Flat Earth, Lisson Gallery, Milan, Italy (2016); On The Other Side, Heydar Aliyex Centre, Baku, Azerbaijan (2015); This is where ideas come from, Wolfson College, Cambridge, UK (2015); Richard Deacon, Tate Britain, (2014); Beware of the Dog, LA Louver, Venice, California, USA (2013); Associations, Lisson Gallery, London, UK (2012); The Missing Part, Sprengel Museum, Hanover, Germany (2011); Add & Subtract, Galerie Thomas Schulte, Berlin, Germany (2009); Personals, Ikon Gallery, Birmingham, UK (2007); Out of Order, Tate St. Ives, St. Ives, Cornwall, UK (2005); and Continent, Galerie Arlogos, Paris, France (2002). Select group exhibitions include Found, Foundling Hospital, London, UK (2016); Here We Go: A Changing Group Show, Karsten Schubert, London, UK (2013); Art Now: Beating the Bounds, Tate Britain, London, UK (2009); and The Eye of the Storm, Parco la Mandria, Turn Italy (2000).
Curated exhibitions include: Abstract Drawing, Drawing Room, London 2014; Garth Evans at Longside Gallery, Yorkshire Sculpture Park (2014); Image & Idol, Tate Britain (2001). His work is held in collections including Arts Council of Great Britain; British Council Collection; Centre Pompidou; Contemporary Art Society; San Francisco Museum of Modern Art; Walker Art Centre; Manchester Art Gallery; Southampton City Art Gallery; University of Warwick and the Tate Collection.
Roger Ackling (b. 1947, London, d. 2014) lived and worked in Norfolk, England. Ackling studied at St. Martin’s College of Art from 1965-1968. His work challenges traditional notions of sculptural production. Ackling’s used pre-existing, recycled/upcycled materials and harnesses light from the sun through glass to transfer energy in the form of heat to create marks. Roger Ackling’s work has been included in many public collections including Tate, British Museum, V&A as well as Fruitmarket Gallery, Edinburgh, The Stedelijk Museum, Amsterdam and Tokyo Metropolitan Museum. He was recently one of the invited artists working in collaboration with particle and theoretical physicists at CERN European Organisation for Nuclear Research.
David Austen (b.1960, Harlow, Essex, UK) is a London based artist. Studied at Maidstone College (1978-81) and the Royal College of Art (1982-85). His diverse work encompasses painting, photography, sculpture, print, drawing and moving image incorporating figurative, textual and abstract motifs. Awards include Stanley Picker Fellowship at Kingston University (2008-09) and the Bryan Robertson Award (2011). Select solo exhibitions include These Rotten Words, Chapter, Cardiff (2017); The Light That Fell Upon Us Burned, Ingleby Gallery at Art Basel Miami Beach (2016); Black Heart, MACC, Italy (2015); The Gorgon’s Dream at The Burns Monument, Ingleby Gallery, at the Edinburgh International Film Festival, Edinburgh, and at Rob Tufnell, London (2012); Papillon, Anthony Reynolds Gallery, London (2011); Smoke Town, Edinburgh billboard, Ingleby Gallery, Edinburgh; End of Love, Modern Art Gallery Oxford, Oxford (2010); Man Smoking, Schiavo Mazzonis Gallery, Rome (2009); My love, I have been digging up my own bones in the garden again, Ingleby Gallery, Edinburgh (2009); and The End of Love, Stanley Picker Gallery, Kingston University, Kingston-Upon-Thames (2009). Select group exhibitions include Cosmic Connections, TOTAH, New York, USA, (2016); The Nakeds, Drawing Room, London (co-curator) (2014); Slow Learner, Timothy Taylor Gallery, London (2014); Just what is it that makes today’s homes so different, so appealing?, New Art Centre, Salisbury (2013); Language Games. An Introduction to The Art of Our Times, Fundación Helga de Alvear, Cáceres, Spain (2012); With An Apple I Will Astonish, Large Glass, London (2012); Artists for Kettle’s Yard, Kettle’s Yard, Cambridge (2011); and Watercolour, Tate Britain, London (2011).
David Batchelor (b. 1955, Dundee, Scotland) lives and works in London. Studied Fine Art at Trent Polytechnic, Nottingham (1975- 1978) and Cultural Theory at Birmingham University (1978- 1980). Batchelor’s work comprises three-dimensional structures, paintings, photographs and drawings, and mostly relates to a long term interest in colour and urbanism. Select solo exhibitions include Chromatology, Ab-Anbar Gallery, Tehran (2017); Reef, Handel Street Projects, London (2016); Glowsticks, Galeria Leme, Sao Paulo (2016); Flatlands, Fruitmarket Gallery, Edinburgh (2013); Magic Hour, Gemeentemuseum, Den Haag (2012); Brighton-Palermo ReMix, Brighton Festival (2012); Slugfest, Galeria Leme, Sao Paulo (2012); Chromophilia, Paco Imperial, Rio de Janeiro (2010); Unplugged, Talbot Rice Gallery, Edinburgh (2007); and South Bank Spectrum, South Bank Centre (2006). Select group exhibitions include Light Show Hayward Gallery, London, MAC Sydney, Sharjah Art Foundation and MAC Santiago (2013-16); Drawing Biennial 2015, Drawing Room, London (2015); Abstract Drawing, Drawing Room, London (2014); Color Chart, Museum of Modern Art, New York (2008) and Tate Liverpool (2009); Extreme Abstraction, Albright Knox Gallery, Buffalo, New York (2005); the Biennial de Santiago, Chile (2005); and the 26th Bienal De São Paulo (2004). Batchelor is represented by Galeria Leme, Sao Paulo and Ingleby Gallery, Edinburgh.
Emma McNally (b. 1969, Essex) lives and works in London. She received her degree in English and Philosophy from the University of York. She is a self-taught artist, possessing a subtle drawing style that fuels the complex mark-making of her large works in graphite on paper. She writes: "I like graphite’s materiality: its mess and dirt as well as its capacity to leave the cleanest, sharpest percussive marks and lines. I feel like I'm forging land formations when I use it, or scattering particles, or spiralling vortices of smoke and water." Recent exhibitions include: Mirror City, Hayward Gallery, London (2014-2015); Abstract Drawing, Drawing Room, London (2014); Atoms Insects Mountains Stars- Selected drawing, Trinity Contemporary, London; and Young Gallery, Salisbury (solo show, 2012); The Curator’s Egg Altera Pars, Anthony Reynolds, London (2012); Seeing/ Knowing, Kenton College of Liberal Arts (2011); State of Flux: Drawing in London (with Layla Curtis, Kate Atkin, James Brooks, Juliet Haysom); and Trinity Contemporary, New York and London (2011).
Alison Wilding (b.1948, Blackburn, UK) lives and works in London. Select exhibitions include Duveen Galleries, Tate Britain (2014); Extra Terrestrial, NUA, Norwich (2016); Arena Redux, Art House Foundation (2016); Acanthus, Asymetrically, Offer Waterman, London, UK (2017); and De La Warr Pavilion, Bexhill (2018). She is represented by Karsten Schubert, London.
Sam Messenger (b. 1980, London) lives and works in London. Messenger’s practice is one of poetic potential. His drawings begin with a series of rules and conditions which he imposes upon himself in order to fulfil the project. The rules cannot change half way through in order to repeat a past result or produce a more aesthetically pleasing outcome, so these initial decisions determine how the drawing will progress, yet they can never predict what the finished work will look like. The artistic journey is one of physical and temporal surrender to the finished surface of the work. Select solo exhibitions include Horizon, ADAA The Art Show, New York, USA (2017); 13 Cycles, Davidson Contemporary, New York, USA (2016); Fracture, Davidson Contemporary, New York, USA (2014); Early Drawings, Davidson Contemporary, New York, USA (2014); Six Veils, Davidson Contemporary, New York, USA (2011); and Straightedge, Davidson Contemporary, New York, USA (2008). Select group exhibitions include Dot, Dash, Dissolve, Pennsylvania Academy of the Fine Arts, USA (2016); Important Works on Paper, Jonathan Novak Contemporary Art, Los Angeles, USA (2015); Line: Making the Mark, Museum of Fine Arts, Houston, Texas, USA (2014); Paper Jam, Neuberger Museum of Art, New York, USA (2014); Abstract Drawing, curated by Richard Deacon, Drawing Room, London (2014); Four Decades, John Berggruen Gallery, San Francisco (2014); Textility, Visual Arts Center of New Jersey, New Jersey, USA (2012); Contemporary Watercolour, curated by Veronica Roberts, Morgan Lehman Gallery, New York, USA (2012); The Art of Collecting, Flint Institute of Arts, Michigan, USA (2011); 40 Artists-80 Drawings, Burton Art Gallery and Museum, Devon (2011); Reflections on a Museum, Williams College Museum of Art, Massachusetts, USA (2011); Now WHAT?, Norton Museum of Art, West Palm Beach, Florida, USA (2010); Contained Thoughts, The Courtauld Institute of Arts, London (2009); Straightedge, Davidson Contemporary, New York, USA (2008); You Silently (Two), The Courtauld Institute of Arts, London (2008); and Blink, Cut + Repeat, The Courtauld Institute of Arts, London (2008). His work is held in public collections including Museum of Fine Arts, Houston, Texas; Williams College Museum of Art, Williamstown, Massachusetts; and Museum of Art Rhode Island School of Design, Providence, Rhode Island.
Anni Albers (b. 1899, Berlin, Germany d. 1994, Connecticut USA) lived and worked in Germany and the US. She studied painting with Martin Brandenburg and also enrolled at the Bauhaus, studying under Paul Klee. After harrassment by Nazi authorites forces the Bauhaus to close in 1933, Albers and her husband relocate to the US, teaching at Black Mountain College, North Carolina. She became a US citizen in 1939. In 1981, Albers received the American Craft Council's Gold Medal, and in 1990, she was awarded an honorary doctorate from the Royal College of Art, London. Selected solo exhibitions include: A Beautiful Confluence: Anni and Josef Albers and the Latin American World, Mudec, Museo delle Culture, Milan (2015), Anni Albers: Design Pioner (touring), Ruthin Craft Centre, Wales, Mead Galery, Warwick Arts Centre, Coventry (2010-11); Anni Albers- Truth to Material, Design Museum, London (2010); The Woven and Graphic Art of Anni Albers, Renwick Gallery, Washington D.C. & touring to Smithsonian Institution, Washington, Yale University Gallery, Yale (1985); Anni Alberts: drawings and prints, Brooklyn Museum, New York (1977); and Anni Albers Textiles, Museum of Modern Art, New York (1949). Selected group exhibitions include: Utopia Matters: from Brotherhoods to Bauhaus, Deutsche Guggenheim, Berlin & touring to Peggy Guggenheim Collection, Venice (2010); Prints from Tyler Graphics, Walker Art Center, Minneapolis, (1984); Art off the picture press, Emily Lowe Gallery, Hofstra University, Hampstead, New York (1977); and Technics and creativity: Gemini G.E.L., Museum of Modern Art, New York City (1971). Albers was a prolific writer, publishing many texts including: On Designing, Pellango Press, New Haven (1951) and On Weaving, Wesleyan University Press, Connecticut (1965). Albers' estate is represented by Alan Cristea Gallery, London.
Anish Kapoor (b. 1954, Bombay) lives and works in London. One of the most influential sculptors working today, Kapoor studied at Hornsey College of Art (1973–77) followed by postgraduate studies at Chelsea School of Art, London (1977–78). He won the Turner Prize in 1991 and has honorary fellowships from the London Institute and Leeds University (1997); the University of Wolverhampton (1999); the Royal Institute of British Architecture (2001); and the University of Oxford (2014). He represented Britain at the 44th Venice Biennale (1990), for which he was awarded the Premio Duemila. He was elected Royal Academician in 1999; awarded the Premium Imperiale in 2011; the Padma Bhushan in 2012; and 2013 was knighted in the Queen’s Birthday Honours. In 2017 he was named the Genesis Prize Laureate. Recent major solo exhibitions include Museo d'Arte Contemporanea di Roma (MACRO), Rome (2016); Museo Universitario Arte Contemporáneo (MUAC), Mexico City (2016); Château de Versailles, France (2015); The Jewish Museum and Tolerance Center, Moscow (2015); Sakıp Sabancı Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); Museum of Contemporary Art, Sydney (2012); Le Grand Palais, Paris (2011); and the Royal Academy of Arts, London (2009). His major permanent commissions include Cloud Gate (2004) for the Millennium Park in Chicago and Orbit for the London 2012 Olympic Park. In 2013 Ark Nova, the world’s first inflatable concert hall, was launched for the Lucerne Festival in Japan.
Gordon Matta-Clark (b. 1943, NY, d. 1978, NY) was the son of the Chilean surrealist painter Roberto Matta and his American partner, Anne Clark. He lived and worked in New York. Matta-Clark studied architecture at Cornell University in Ithaca, New York and French literature at the Sorbonne in Paris, France. Because of his radical, socially critical and innovative work, Matta-Clark still ranks among the most significant personalities of a New York art scene of the late 1960s and early 1970s. It was at around this time that Matta-Clark began a series of works which were displayed both in the public arena and at alternative galleries such as "98" and "112 Greene Street.'' The interaction of the human body with and within nature and architecture is a pivotal point around which his works orbited - starting with "Rope Bridge" (1969) through his numerous drawings of trees, arrows and pictograms, his forceful alterations of buildings, and his performances and on to his drafts for "Ballongebäude" (1978). Matta-Clark is best known for his so-called "Building Cuts" (1972-78) wherein he sliced through all layers of materials and removed entire chunks of abandoned buildings. The work process itself- the sudden penetration of light, vistas opening up, and the public’s perambulations in the transformed building, along with the potential hazards involved- was integral to these works. Since none of the works could be preserved, Matta-Clark’s films offer the best access to an appreciation of this group of works. Matta-Clark also used film in a reflective and analytical manner, e. g., as an instrument of supervision in "Chinatown Voyeur" (1971) or in researching the underground of cities, such as in "Substrait" (1976) and "Sous-sols de Paris" (1977). The Generali Foundation organized a major retrospective in 1999, where Matta-Clark’s conceptual approach was presented in greater detail and also, for the first time, his graphic work was shown. The Generali Foundation has acquired - along with other central works - all of Gordon Matta-Clark’s films and videos and has contributed in conjunction with other renowned international institutions to the restoration of these important works. http://foundation.generali.at/en/collection.html#artist=162
Frederick Hammersley (b. 1919, USA d. 2009, USA) lived and worked in California and Utah. Hammersely studied at Chouinard Art Institute in Los Angeles and at Jepson Art Institute. While serving as an Army sergeant in World War II from 1942-45 he was stationed in Paris and took the opportunity to study at the École des Beaux Arts after he was discharged in 1945. After the war, Hammersley taught at many institutions, including: Jepson Art School, Los Angeles, California; Pomona College, Claremont, California; Pasadena Art Museum, Pasadena, California; Chouinard Art School, Los Angeles, California; and University of New Mexico, Albuquerque, New Mexico. Hammersley first gained critical recognition in 1959 as one of the "Four Abstract Classicists" along with Karl Benjamin, Lorser Feitelson, and John McLaughlin, whose work was featured in an exhibition of the same name, organized by the Los Angeles County Museum of Art and traveling to the San Franciso Museum of Modern Art, the Institute of Contemporary Art in London, and Queen's University in Belfast, Ireland. The critic Jules Langsner, writing for the catalogue, is credited with coining the term "hard-edge" painting as a description of the artists' use of flat, colored shapes applied to the canvas with sharply delineated edges. In the mid-1990s a renewed interest in Hammersley's work, as well as in the cultural milieu in which "hard edge" painting was formed, resulted in a number of significant exhibitions and a commercial success he had enjoyed only intermittently during his career. Although his health had been failing for several years before he died in 2009, he continued to paint whenever possible until the day before his death. He left a legacy of artwork, students, colleagues, and friends, and a vibrant attitude toward life that carries on in his paintings, drawings, and writings. More information on Hammersley, his work, and his legacy can be found at http://hammersleyfoundation.org/hammersley.html
Kishio Suga (b. 1944, Morioka, Japan) lives and works in Ito City, Shizuoka Prefecture, Japan. He received a BFA in oil painting from Tama Art University, Tokyo, in 1968. He is one of the leading figures of Mono-ha (School of Things), a group of artists who radically redefined Japanese art during the late 1960s and early 1970s. The Mono-ha artists explored the encounter between natural and industrial materials, and the interdependency of these various elements and the surrounding space. In his site-specific installations, Suga places materials such wood, stones, steel plates, plastic sheeting, glass, paper, wire, and rope in ephemeral arrangements. He has been influenced by a broad range of philosophy—from Jean Baudrillard to Gilles Deleuze and Kitarō Nishida—and through his installations and performances he consistently explores "situations" and the "activation of existence" by establishing physical and conceptual boundaries on a site only then to deconstruct them. Major solo exhibitions include the Yokohama Museum of Art; the Hiroshima City Museum of Contemporary Art; and the Museum of Contemporary Art, Tokyo. His work has also been included in landmark surveys, such as Tokyo 1955–1970: A New Avant-Garde, Museum of Modern Art, New York (2012); Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s, The Warehouse, Dallas, USA; Prima Materia, Punta Della Dogana, Venice, Italy, (2013); and Reconsidering Mono-ha, National Museum of Art, Osaka (2005). His work is in numerous museum collections, including: Dallas Museum of Art, Dallas, USA; Guggenheim Abu Dhabi, Abu Dhabi, UAE; Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; Museum of Contemporary Art, Tokyo, Japan; Tate Modern, London; and Yokohama Museum of Art, Japan. He is represented by Blum & Poe, Los Angeles, New York and Tokyo; Tokyo Gallery + BTAP, Tokyo and Beijing; and Tomio Koyama Gallery, Tokyo and Singapore.
Nasreen Mohamedi was born in 1937 in Karachi, India. She studied at St. Martins School of Art in London from 1954‐57 and later in Paris from 1961‐63 under a French Government scholarship. Mohamedi joined the M.S. University, Faculty of Fine Arts, in Baroda in 1972 and continued to teach and work there until 1988. She passed away in 1990 in Kihim, India. Mohamedi carved a unique space for herself in the Indian art world, and her contribution is increasingly accepted as essential to International modernism. Her work, on paper and in photographs, resonates with rhythms extracted from her surroundings‐ forms distilled to their essence and converged in a wholly distinctive formal language. At times inhabiting the space between the representational and abstract, the continuous flow and evolution at work across her practice materializes an intrinsic unity that exists beyond the perceptible.
Since her first solo exhibition outside India in 2003 at Talwar Gallery, Mohamediʹs works have been on view in institutions worldwide, including Tate, Liverpool, UK (2014); Drawing Room, London (2014); Kiran Nadar Museum of Art, Delhi (2013); Nelson Atkins Museum, Kansas City, MO (2013); Parasol Unit Foundation, London (2012); The Museum of Modern Art (MoMA), New York (2010); Kunsthalle Basel, Basel, Switzerland (2010); Milton Keynes Gallery, UK (2009); Documenta, XII, Kassel, Germany (2007); Museum of Contemporary Art, Los Angeles, CA (2007); Queensland Art Gallery, Brisbane, Australia (2006); Drawing Center, New York (2005); and Walker Art Center, Minneapolis, MN (2003).
The Estate of Nasreen Mohamedi is represented by Talwar Gallery, New York and New Delhi.
Susan Hefuna (b. 1962, Germany) is a German-Egyptian artist. She lives and works in Cairo, Duesseledorf, NYC and everywhere. She studied in Germany and received her post-graduate degree from the Institute for New Media at the Städelschule, Frankfurt. Select solo exhibitions include Angst Eats Soul, PiArtworks Gallery, Istanbul, Turkey (2017); Cityscapes, Rhona Hoffman Gallery, Chicago (2017); Susan Hefuna - Buidings, Rhona Hoffman Gallery, Chicago (2016); Susan Hefuna, Crossroads 2002-2016, PiArtworks Gallery, London, UK (2016); Susan Hefuna-Cairoscapes, PiArtworks, London (2014); Susan Hefuna-Buildings, Osthaus Museum, Hagen (2014); BeYond NoThing, PiArtworks, Istanbul (2014); Notations, Gallery Rhona Hoffman, Chicago (2014); Susan Hefuna: another place, Bait Al Serkal, Sharjah Art Foundation, Sharjah UAE (2014); and RASM: of Wood, Silver and Gold, Rose Issa Projects, London UK (2013). Select group exhibitons include The Creative Act: Performance Process Presence, Guggenheim Abu Dhabi, UAE (2017); Public View, Bluecoat art Center, Liverpool, UK (2017); Escape Attempts, Shulamit Nazarian Gallery, LA, USA (2017); Rhona Hoffman 40 Years: Part 3 Political, Chicago, IL, USA, (2017); Sol LeWitt - A tribute, Gemeentemuseum Den Haag, Holland (2016/2017); CHERS AMIS, Centre Pompidou, Paris, France (2016/2017); Weltsicht, Kurpfaelzisches Museum der Stadt Heidelberg, Germany (2016); Rhona Hoffman 40 Years: Part 2, Chicago, IL (2016); Rhona Hoffman 40 Years: Part 1, Chicago, IL (2016); But a Storm Is Blowing from Paradise, Guggenheim, NYC (2016); Social Calligraphies, Zacheta National Gallery of Art, Warshaw, Poland (2016); Built, World, SCAD Museum of Art, Savannah, GA, USA (2016); Memory and Continuity: A Selection from the Huma Kabak collection, Pera Museum, Istanbul, Turkey (2016); Zimmer mit Aussicht - room with a view, Kehrer Galerie, Berlin, Germany (2016); The Barjeel Art Foundation: Debating Modernism Part III, Whitechaplel Gallery. London, UK (2016); Cross border, PĀTAKA ART MUSEUM, New Zealand (2016); and Do it, Sharjah Art Foundation, Sharjah, UAE (2016).
Tomma Abts (b. 1967, Kiel, Germany) lives and works in London since 1995. She studied at the Hochschule der Künste, Berlin. Abts is known for her abstract works with consistent vertical format, 19 x 17 inches, the strict geometrical shapes and rich colours. She has no visual sources or references. Unlike her paintings, which fill the canvas, the drawings occupy the space of the page and are more imagistic. Abts describes her compositions as ‘having to do with holding and unfolding the space in the way that every part of the picture plane is active’. Recent solo exhibitions include venues such as David Zwirner, New York (2014); Aspen Art Museum, Aspen (2014); Galerie Daniel Buchholz, Cologne (2013); greengrassi, London (2011); Kunsthalle Düsseldorf, Düsseldorf (2011); Galerie Giti Nourbakhsch, Berlin (2009); Hammer Museum, Los Angeles (2008); New Museum of Contemporary Art, New York (2008); and Van Abbemuseum, Eindhoven (with Vincent Fecteau, 2004). She has participated in numerous group exhibitions including The Bottom Line, S.M.A.K, Ghent (2015); Drawing Now, Albertina Museum, Vienna (2015); Abstract Drawing, Drawing Room, London (2014); Painting Now: Five Contemporary Artists, Tate Britain, London (2013); Made In Britain: Contemporary Art from the British Council Collection 1980 – 2010, Benaki Museum, Greece; Albanian National Gallery, Tirana; Maribor, Slovenia; Ankara, Turkey, David Zwirner, New York, NY (2012); The Indiscipline of Painting, Mead Gallery, Warwick Arts Centre (2012); The Indiscipline of Painting, Tate St Ives, Cornwall (2011); PPP, Public Private Paintings, Mu.ZEE, Oostende (2011); Absentee Landlord, Walker Art Center, Minneapolis, MN (curated by John Waters, 2011); Seeing Is a Kind of Thinking: A Jim Nutt Companion, MCA, Chicago (curated by Julie Rodrigues Widholm,2011); and Matisse and Beyond: The Painting and Sculpture Collection, MoMA, San Francisco (2004). Abts is the first female painter to win the Turner Prize, London (2006), and is also the recipint of The Paul Hamlyn Foundation Award, London (2004), NaFöG – Stipendium, Berlin (1995-6), DAAD- Stipendium, London (1995). She is represented by greengrassi gallery, London.
Kazimir Malevich (b. 1879 Kiev, Ukraine, d.1935, Leningrad, Russia) grew up in rural Ukraine where he developed a love of peasant art and embroidery. After his father died in 1904, he studied painting, sculpture, and architecture in Moscow, developing a 'Cubo-futuristic' style influenced by his folk art roots. In the following years, against the backdrop of the October Revolution, Malevich inventd Suprematism, the core principles of which he laid out in his manifesto 'From Cubism to Suprematism' in 1915. His Suprematist work was first seen at the 0,10 (Zero-Ten) exhibition of 1915, in paintings such as 'Black Square' and 'Black Cross.' In the late 1920's he traveled to Warsaw and Berlin with an exhibition of his work, which brought him international recognition and acclaim. The Stalinist Soviet government opposed his work and all forms of 'bourgeois' art, however, and Malevich fell out of favour. Many of his manuscripts were destroyed, many of his works were confiscated and he was banned from creating and exhibiting similar art. He was imprisoned for two months toward the end of 1930 and tried to flee Leningrad after his release. In 1932, the Soviet government proclaimed a new totalitarian socialist-realist aesthetic, a political dictatorship in art, which excluded the possibility of any modernist movement or abstract painting. Predating the Nazi idea of degenerate art, a large exhibition of formalist tendencies was presented in Leningrad and in Moscow during the winter of 1932-33. This was the last public presentation Malevich's work in his lifetime. He was diagnosed with cancer in 1933, denied permission to travel abroad to receive medcial treatment, and died in Leningrad in March 1935. Malevich's Suprematist work and theories had tremndous impact on the development of abstract art in the Soviet Union, Western Europe, and the United States, and he is considered one of the most influential artists in the 20th century.
Selected solo exhibitions include: 2013-14: Kazimir Malevich and the Russian Avant-Garde, The Stedelijk Museum, Amsterdam, The Nedetherlands; 2003-04: Kazimir Malevich: Suprematism (travelling), Deutsche Guggenheim Berlin, Germany; Soloman R. Guggenheim Museum, New York, NY; The Menil Collection, Houston, TX, US; 1988: (travelling), Russian Museum, Saint Petersburg; Tretyakov Gallery, Moscow, Russia; Stedelijk Museum, Amsterdam, The Netherland; 1980: Kunsthalle Dusseldorf, Dussselforf, Germany; 1978: Galerie Gmurzynska, Cologne, Germany; 1929: Tretyakov Gallery, Moscow, Russia; 1919-20: Kazimir Malevich. His path from Impressionism to Suprematism, The Sixteenth State Exhibition, Moscow, Russia.
Eva Hesse (b. 1936, Hamburg, d. 1970 New York) was a Jewish German-born American sculptor. She studied at Cooper Union, NY and Yale University. Recent solo exhibitions include: Converging Lines. Eva Hesse and Sol Lewitt, Blanton Museum of Art, Austin TX (2014); Eva Hesse 1965, Hauser and Wirth, London (2013); Eva Hesse. One More Than One, Hamburger Kunsthalle, Germany (2013); Eva Hesse Spectres 1960, UCLA Hammer Museum, Los Angeles & touring to University of New Mexico Art Museum, Albuquerque NM (2012); Brooklyn Museum, Elizabeth A. Sackler Center for Feminist Art, Brooklyn, NY (2010-11); Institute of Contemporary Art Boston, Massachusetts (2011); Eva Hesse Studio Work, Fruitmarket Gallery, Edinburgh, Scotland & touring to Camden Arts Centre, London (2011); Tápies Foundation, Barcelona, Spain (2010); Art Gallery of Ontario, Toronto, Canada (2010); Berkeley Art Museum / Pacific Film Archive, University of California (2009 – 11); Eva Hesse Drawing, Walker Art Center, Minneapolis, MN & touring to MOCA – The Museum of Contemporary art, Los Angeles, CA (2009); The Drawing Center, New York (2009); Menil Collection, Houston, Texas (2006); Eva Hesse: Sculpture, The Jewish Museum, New York (2006). Selected group exhibitions: Abstract Drawing, Drawing Room, London (2014); When Attitudes Become Form- ‘Live in Your Head’ / Works – Concepts – Processes – Situations – Information, Kunsthalle Bern, Berne, Switzerland & touring to Museum Haus Lange, Krefeld, Germany (2013); Institute of Contemporary Art, London (1969); Nine at Leo Castelli, Leo Castelli (Warehouse), New York, NY (1968); Anti Form, John Gibson Gallery, New York, NY (1968); and Eccentric Abstraction, Fischbach Gallery, New York (1966).
Lothar Götz (b. 1963, Günzburg, DE) lives and works in London, UK and Berlin, DE. Studied BA Visual Communication at FH Aachen, DE (1983-88); MA Aesthetics at University of Wuppertal, DE (1991-95); and MA Painting at the Royal College of Art, London, UK (1996-98). Götz extends the conventional grammar of drawing into the third dimension, claiming the space of architecture as his drawing board. He does so with the precise vocabulary of geometric abstraction, all the while articulating it in his own poetic idiom of colour. Awards include the Abbey Fellowship with The British School at Rome (2010); and the Cocheme Fellowship Central Saint Martins, Byam Shaw School of Art, London (2006). Select solo exhibitions include staircase commission, Leeds City Art Gallery, supported by The Art Fund, Art Happens (2017); Threesome, Petra Rinck Galerie, Düsseldorf, Germany (2016); Pas de Trois, Domobaal, London, UK (2016); Composition for a Staircase, site–specific mural, Pallant House Gallery, Chichester, UK (2016); Lothar Götz/Duncan Grant, The Russell Chantry at The Collection, Lincoln, UK accompanying 21st Century Perspectives on Murals & Art for Public Spaces academic conference (2016); Concrete Fantasies, York College Gallery, UK (2015); Emotional Abstraction, Kunsthalle Memmingen, Bavaria, DE (2015); Lothar Götz, The House of St Barnabas, London, UK (2015); Conversations with The Devil, Petra Rinck Galerie, Düsseldorf, DE (2014); and Project 07: Lothar Götz, Contemporary Art Society, London (2014). Select Group exhibitions include Colour and Perception: from Seurat to Riley, Compton Verney, Warwickshire, UK (2017); Enter Stage Left Glucksman gallery, UCC, Cork, IR (2017); Drama Queen, Museum Morsbroich, Leverkusen, DE (2016); Mechanical Abstract, Turps Gallery, London, UK (2016); Drawing Biennial 2015, Drawing Room, London (2015). Götz is represented by Domobaal.
Victoria Haven (b. 1964, USA) received BFA in Painting from University of Washington, Seattle (1989) and a Masters in Fine Art rom Goldsmiths College, University of London (1999). Her recent solo and two person exhibitions include Overland, Planthouse, New York (2014); Proposed Land Use Action, Seattle Art Museum, Seattle (2012); Hit the North, Greg Kucera Gallery, Seattle (2011), and Hit the North, PDX Contemporary Art, Portland (2011).Haven's recent group exhibitions include Reclaimed, Seattle Art Museum, Seattle (2011); The Three Dimensional Line, Kirkland Arts Center, Kirkland (2011); Vortexhibition Polyphonica, Henry Art Gallery, Seattle (2010).