Saturday 25 October 2008
If you need help with your essay.
If you need help with your essay you can contact Anna Gabryel-Morrison to arrange a one-to-one meeting. Her college telephone number is: 02075735224 or you can drop her an e-mail: a.gabryel-morrison@kcc.ac.uk
Saturday 18 October 2008
Example of a Contextual Studies Essay
Tiziano Vecellio Danae and the Shower of Gold, 1554. Museo del Prado, MadridA Look At Titian's Painting Danae
By John Smith.
Tiziano Vecellio, a Venetian Artist known as Titan, was commissioned in the years of 1544-1546 to paint a canvas, by a cardinal, Alessandro Farnese. The painting that Alessandro commissioned was the Danae. Danae is a painting that still to this day is very ambiguous. When Titian was commissioned, in order to oblige the cardinal, he gave Danae the features of Donna Olimpia, a famous courtesan with whom Alessandro was thought to have had a liaison (Huse and Wolters, 1996).
Through visual description, Titian's use of light and colour, as well as the many compositional elements that are displayed, Danae truly becomes recognized and understood.
When looking at Danae, the viewer is first drawn to the nude women reclining across the picture plane in a three-quarter frontal pose. Danae is reclining on a bed that is dressed with white linens, and rests her head atop a white pillow. Her right arm is bent at the elbow, and extends slightly outwards beside her. Danae's right leg is bent up at the knee, and her left leg is bent at the knee as well, however extending downwards. The only drapery she wears, keeping her from being naked, is a white linen bed sheet that drapes across her upper thigh. Titian was an artist known for his celebration of the human body.
Through painting a women nude, Titian aimed for a sense of calmness and serenity in the feminine body (Huse and Wolters, 1996); therefore, Danae's form is very distinct and has a sculptural quality. Danae gazes upwards, which then leads the viewer to the burst of golden showers and coins that appear high above her torso. In mythology, there are many different stories surrounding Danae; however, in the book the "Metamorphoses", it tells of Danae being imprisoned in a tower (however the reason is unknown) where Jupiter, in the form of golden rain, impregnates her (Nash 1985). Therefore, floating above the torso area of Danae is the shower of golden rain. The coins that are shown within this shower of golden rain have been given many different meanings by many different mythographers, aiding to the sense of Danae being so ambiguous. Some say the coins represent marriage and wealth; others say the coins represent Danae as a prostitute; therefore, if Danae is a prostitute, the coins in Jupiter's rain are his way of paying her for her services. From the golden rain, the viewer is drawn to the standing nude Cupid on the right hand side of the painting. As Jupiter arrives, Cupid turns to the side, away from the god's explosion. Cupid here is shown as a young boy. He has a small, plump body, and a very childlike face.
The distinguishing feature that makes the viewer aware that this is not just a boy, is the colourful wings that he wears on his back. Titian, being a Venetian Artist, was intrigued by colour, and fantastically used them within his work. Colorito, a term that describes the application of paint without line in bright colour, is displayed in the wings of Cupid as well as throughout the entire painting of Danae. In Titian's use of colorito, the painting lacks an emphasis on line, and brings forth a new style that is far from any of the Florentine Painters, such as Michelangelo. Titian's new style was disliked by many of the Renaissance painters up until this time; however, in Venice, Titian's style quickly became acknowledged, and he became recognized as a master (Vasari 1986).
The last element that completes the viewers leading eye is Cupid's right arm. As he turns away from Jupiter's rain, he begins to leave the room, leading with his arm, as his work for Danae is done. With his arm pushing outward off of the painting, the viewer gets an overall feeling for the work. In mythology, with so much of the story left untold, it is a wonder why Titian, for his first poesia, a mythological character created purely for pleasure in Venetian Art, chose such a minor subject matter in terms of textual importance.
The source of light deeply adds to the effect of this painting. Not only does it aid in the overall mood of the work, but it also adds to Titian's strong use of colour. The light displayed in this work is coming from the far left side. It casts significantly warm tones, which make the viewer believe the light source is that of candlelight; perhaps it is shining from the bedside table beside Danae. With the light coming from Danae's right side, there is a strong sense of shadows that are cast throughout the work. The heavy yellow curtain that hangs from the top left corner, casts a strong shadow across Danae's face. Within Titian's work, a shadow cast across a figures face became a sign of tragedy; this was also displayed through other pieces of his works, such as "The Rape of Europa" as well as the "Fall of Man" (Rosand 1997).
The lighting in the work also affects the overall mood. With the casting of the light being warm, the painting is given a calm, relaxing, and romantic feeling. To Titian, the only way to establish a mood, or to communicate a feeling to the viewer, was through the use of colour. All of the colour combinations that Titian uses within the Danae equally add to the overall mood. Titian, being a Venetian Artist, was very concerned with the use of colour in his works; in part, this was due to the richness of Venice being a colourful and cosmopolitan city due to trades with the East (Williams 1975). Titian was thought to have believed that to paint with only colours, without drawing on the canvas first, was what the true principles of art were (Williams 1975). Titian was the first artist to "make of colour an entity unto itself; and in so doing he opened a path to generations of painters have followed down to the present day" (Williams 1975, p.16).
Within the composition of Danae, there are certain elements that complete the overall unity of the work; without the incorporation of certain elements, the work would have been incomplete with a lack of understanding for the overall mood. Surface textures play a strong role in understanding the composition. With Danae positioned the way she is, the bed sheet around her realistically folds. With the warm glow that Danae's body gives off, the light, soft, delicate feel of the bed sheet helps project her mood. As the viewer looks into the background, texture is still projected, however in a very subtle yet realistic way. In reality, when looking at something with texture, the further away you are from it, the duller it appears; through surface texture, Titian gives the Danae a very realistic feel.
With the sense of texture being acknowledged, it lends a hand to the perspective of depth in the work. Titian definitely displays a sense of depth within the Danae. In the foreground, lit well by light is Danae. Slightly off to the side is Cupid; Cupid is lit by the light, however not as clearly as Danae, as he is father from the source of light. When looking deeper into the painting, strong shadows as well as darkness are shown due to the amount of light a single candle gives off. In the very background is a window, where the horizon is slightly shown. This window helps create a sense of depth within the work; without the window, the background would be nothing but black, and the sense of depth that eludes would be lost. With the display of light, as well as the view of the horizon through the window in the background, Titian successfully creates a sense of believable space within Danae.
The way the elements within the composition are arranged is an important aspect to the meaning of Danae; the way the viewer is taken through the painting by the arrangement helps tell the story of Danae from beginning to end. If the elements within the composition were arranged any differently, the poesia of Danae would be lost.
Danae was the first piece of commissioned work that Titian painted in his transition of style. However, in changing his ideal style, he was successful in satisfying both his own ideas as well as his patrons' wants. This was in part due to the similarities in Titian and his patrons; they both thought that the world should embody beauty and aesthetic pleasure (Williams 1975). Alessandro Farnese, the commissioner of Danae, wished to live in beauty and splendour, and within the painting, Titian satisfied both the wants of Alessandro as well as himself.
Through visual description, Titian's use of light and colour, as well as the many compositional elements that are displayed, Danae truly becomes recognized and understood.
When looking at Danae, the viewer is first drawn to the nude women reclining across the picture plane in a three-quarter frontal pose. Danae is reclining on a bed that is dressed with white linens, and rests her head atop a white pillow. Her right arm is bent at the elbow, and extends slightly outwards beside her. Danae's right leg is bent up at the knee, and her left leg is bent at the knee as well, however extending downwards. The only drapery she wears, keeping her from being naked, is a white linen bed sheet that drapes across her upper thigh. Titian was an artist known for his celebration of the human body.
Through painting a women nude, Titian aimed for a sense of calmness and serenity in the feminine body (Huse and Wolters, 1996); therefore, Danae's form is very distinct and has a sculptural quality. Danae gazes upwards, which then leads the viewer to the burst of golden showers and coins that appear high above her torso. In mythology, there are many different stories surrounding Danae; however, in the book the "Metamorphoses", it tells of Danae being imprisoned in a tower (however the reason is unknown) where Jupiter, in the form of golden rain, impregnates her (Nash 1985). Therefore, floating above the torso area of Danae is the shower of golden rain. The coins that are shown within this shower of golden rain have been given many different meanings by many different mythographers, aiding to the sense of Danae being so ambiguous. Some say the coins represent marriage and wealth; others say the coins represent Danae as a prostitute; therefore, if Danae is a prostitute, the coins in Jupiter's rain are his way of paying her for her services. From the golden rain, the viewer is drawn to the standing nude Cupid on the right hand side of the painting. As Jupiter arrives, Cupid turns to the side, away from the god's explosion. Cupid here is shown as a young boy. He has a small, plump body, and a very childlike face.
The distinguishing feature that makes the viewer aware that this is not just a boy, is the colourful wings that he wears on his back. Titian, being a Venetian Artist, was intrigued by colour, and fantastically used them within his work. Colorito, a term that describes the application of paint without line in bright colour, is displayed in the wings of Cupid as well as throughout the entire painting of Danae. In Titian's use of colorito, the painting lacks an emphasis on line, and brings forth a new style that is far from any of the Florentine Painters, such as Michelangelo. Titian's new style was disliked by many of the Renaissance painters up until this time; however, in Venice, Titian's style quickly became acknowledged, and he became recognized as a master (Vasari 1986).
The last element that completes the viewers leading eye is Cupid's right arm. As he turns away from Jupiter's rain, he begins to leave the room, leading with his arm, as his work for Danae is done. With his arm pushing outward off of the painting, the viewer gets an overall feeling for the work. In mythology, with so much of the story left untold, it is a wonder why Titian, for his first poesia, a mythological character created purely for pleasure in Venetian Art, chose such a minor subject matter in terms of textual importance.
The source of light deeply adds to the effect of this painting. Not only does it aid in the overall mood of the work, but it also adds to Titian's strong use of colour. The light displayed in this work is coming from the far left side. It casts significantly warm tones, which make the viewer believe the light source is that of candlelight; perhaps it is shining from the bedside table beside Danae. With the light coming from Danae's right side, there is a strong sense of shadows that are cast throughout the work. The heavy yellow curtain that hangs from the top left corner, casts a strong shadow across Danae's face. Within Titian's work, a shadow cast across a figures face became a sign of tragedy; this was also displayed through other pieces of his works, such as "The Rape of Europa" as well as the "Fall of Man" (Rosand 1997).
The lighting in the work also affects the overall mood. With the casting of the light being warm, the painting is given a calm, relaxing, and romantic feeling. To Titian, the only way to establish a mood, or to communicate a feeling to the viewer, was through the use of colour. All of the colour combinations that Titian uses within the Danae equally add to the overall mood. Titian, being a Venetian Artist, was very concerned with the use of colour in his works; in part, this was due to the richness of Venice being a colourful and cosmopolitan city due to trades with the East (Williams 1975). Titian was thought to have believed that to paint with only colours, without drawing on the canvas first, was what the true principles of art were (Williams 1975). Titian was the first artist to "make of colour an entity unto itself; and in so doing he opened a path to generations of painters have followed down to the present day" (Williams 1975, p.16).
Within the composition of Danae, there are certain elements that complete the overall unity of the work; without the incorporation of certain elements, the work would have been incomplete with a lack of understanding for the overall mood. Surface textures play a strong role in understanding the composition. With Danae positioned the way she is, the bed sheet around her realistically folds. With the warm glow that Danae's body gives off, the light, soft, delicate feel of the bed sheet helps project her mood. As the viewer looks into the background, texture is still projected, however in a very subtle yet realistic way. In reality, when looking at something with texture, the further away you are from it, the duller it appears; through surface texture, Titian gives the Danae a very realistic feel.
With the sense of texture being acknowledged, it lends a hand to the perspective of depth in the work. Titian definitely displays a sense of depth within the Danae. In the foreground, lit well by light is Danae. Slightly off to the side is Cupid; Cupid is lit by the light, however not as clearly as Danae, as he is father from the source of light. When looking deeper into the painting, strong shadows as well as darkness are shown due to the amount of light a single candle gives off. In the very background is a window, where the horizon is slightly shown. This window helps create a sense of depth within the work; without the window, the background would be nothing but black, and the sense of depth that eludes would be lost. With the display of light, as well as the view of the horizon through the window in the background, Titian successfully creates a sense of believable space within Danae.
The way the elements within the composition are arranged is an important aspect to the meaning of Danae; the way the viewer is taken through the painting by the arrangement helps tell the story of Danae from beginning to end. If the elements within the composition were arranged any differently, the poesia of Danae would be lost.
Danae was the first piece of commissioned work that Titian painted in his transition of style. However, in changing his ideal style, he was successful in satisfying both his own ideas as well as his patrons' wants. This was in part due to the similarities in Titian and his patrons; they both thought that the world should embody beauty and aesthetic pleasure (Williams 1975). Alessandro Farnese, the commissioner of Danae, wished to live in beauty and splendour, and within the painting, Titian satisfied both the wants of Alessandro as well as himself.
Bibliography:
Huse, N and Wolters, W. (1996) The Art of Renaissance Venice. New York: Phaidon
Jephcott. C. (1990) Art in Italy. Chicago: The University of Chicago Press.
Nash, J. (1985) Veiled Images: Titian's Mythological Paintings for Philip II. Philadelphia: The Art Alliance Press
Rosand, D. (1997) Painting in Sixteenth-Century Venice. New York, NY:Cambridge University Press
Vasari, G. (1986) The Great Masters. London: Ed. Michael Sonino. Hugh Lauter Levin Associates, Inc., .
Williams, J. (1975) The World of Titian: c.1488-1576. New York: Time Life Books
N.B. This is just an example of a possible Contextual Studies essay. Of course you do not have to write like this, but it might help you to understand how to structure your writing and how to use your references.
Monday 13 October 2008
DADA
“We had lost confidence in our culture. Everything had to be demolished. We would begin again after the "tabula rasa". At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order”.
Marcel Janco
Dada: the abolition of logic, the dance of the impotents of creation;
Dada: abolition of all the social hierarchies and equations set up by our valets to preserve values;
Dada: every object, all objects, sentiments and obscurities, phantoms and the precise shock of parallel lines, are weapons in the fight;
Dada: abolition of memory;
Dada: abolition of archaeology;
Dada: abolition of the prophets;
Dada: abolition of the future;
Dada: absolute and unquestionable faith in every god that is the product of spontaneity.
(Tristan Tzara in “Dada Manifesto”, 1918)
Dada was a cultural movement that began in neutral Zürich, Switzerland, during World War I and peaked from 1916 to 1920.
In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber; along with others discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it.
The movement primarily involved visual arts, literature (poetry, art manifestoes, art theory), theatre, and graphic design, and concentrated its anti war politic through a rejection of the prevailing norms in art.
Dada activities included public gatherings, demonstrations, and publication of art/literary journals. Passionate coverage of art, politics, and culture filled their publications.
The beginnings of Dada correspond to the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity — in art but more broadly also in society — that led to the war.
According to its proponents, Dada was not art — it was "anti-art" in the sense that Dadaists protested against the contemporary academic and cultured values of art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend through their rejection of traditional culture and aesthetics.
After the cabaret Voltaire closed down, Tristan Tzara began a relentless campaign to spread Dada ideas. When World War I ended in 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities.
DADA in Berlin:
The groups in Germany were not as strongly anti-art as other groups. Their activity and art was more political and social, with corrosive manifestos and propaganda, biting satire, large public demonstrations and overt political activities. It has been suggested that this is at least partially due to Berlin's proximity to the front, and that for an opposite effect, New York's geographic distance from the war produced its more theoretically-driven, less political nature.
DADA in New York:
New York was a refuge for writers and artists from World War I. Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the centre of radical anti-art activities in the United States.
New York Dada lacked the political drive of European Dada and was instead driven by a sense of irony and humor. New York Dadaists would cheerfully avail themselves of the heavily industrialized United States' bounty of machines and other manufactured objects.
New York section of Dada concentrates on readymade objects, new technology (as with airbrushing) and graphic works reminiscent of mechanical drawing.
Picabia's travels tied New York, Zürich and Paris groups together during the Dadaist period. For seven years he also published the Dada periodical 391 in Barcelona, New York, Zürich, and Paris from 1917 through 1924.
The French avant-garde kept strong ties with Dada activities in Zürich with regular communications from Tristan Tzara.
While broad, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements.
By the dawn of World War II, many of the European Dadaists had fled or emigrated to the United States. Some died in death camps under Hitler, who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to new movements in art and literature.
There was no predominant medium in Dadaist art. All things from geometric tapestries to glass to plaster and wooden reliefs were fair game. It's worth noting, though, that assemblage, collage, photomontage and the use of readymade objects all gained wide acceptance due to their use in Dada art.
For something that supposedly meant nothing, Dada certainly created a lot of offshoots. In addition to spawning numerous literary journals, Dada influenced many concurrent trends in the visual arts (especially in the case of Constructivism).
The best-known movement Dada was directly responsible for is Surrealism but also various anti-art and political, artistic and cultural movements like Nouveau Realism, New Dada and Conceptual Art.
Main protagonists of the Dada movement:
Marcel Duchamp (1887 – 1968)
George Grosz (1893 – 1959)
John Heartfield (1891-1968)
Hannah Höch (1889 - 1978)
Francis Picabia (1879 - 1953)
Man Ray (1890 - 1976)
Kurt Schwitters (1887 - 1948)
Tristan Tzara (1896 - 1963)
Hans Arp (1886-1966)
Baroness Elsa von Golyscheff (1874-1927)
Marcel Janco (1886-1966)
Tuesday 7 October 2008
The BEST galleries in London.
Frieze Art Fair
16-19 October 2008
Regent’s Park, London
ZOO ART FAIR
17-20 October 2008
Royal Academy of Arts, Burlington Gardens, W1S 3EX
12.00 - 20.00 Daily; Monday 12.00 - 17.00.
Green Park / Bond Street
GAGOSIAN GALLERY
6-24 Britannia Street, WC1X
Tue-Sat 10-6 or by appointment
King’s Cross St. Pancras
RICHARD SERRA : SCULPTURE
Oct 4 - Dec 20, 2008
WHITE CUBE
48 Hoxton Square, N1 6PB
Tue-Sat 10-6
Old Street
JOSIAH MCELHENY : ISLANDUNIVERSE Oct 14 - Nov 15, 2008
WHITE CUBE
25-26 Mason's Yard, SW1Y 6BU
Tue-Sat 10-6
Piccadily Circus / Green Park
ROBERT IRWIN : LIGHT AND
SPACE Sep 17 - Oct 19, 2008
PARASOL UNIT FOUNDATION FOR CONTEMPORARY ART
14 Wharf Rd, N1 7RW
Tue-Sat 10-6, Sun 12-5
Old Street / Angel
CHARLES AVERY :THE ISLANDERS Sep 10 - Nov 8, 2008
VICTORIA MIRO GALLERY
16 Wharf Rd, N1 7RW
Tue-Sat 10-6
Old Street (Exit 8)
ELMGREEN & DRAGSET Oct 14 - Nov 15
BLOOMBERG
50 Finsbury Square, EC2A 1HD
Tue-Sat 11-6
Liverpool Street / Moorgate
FADE IN FADE OUT Oct 15 - Nov 29, 2008 Philippe Decrauzat, Cerith Wyn Evans, Kris Martin, Philippe Parreno
GIMPEL FILS
30 Davies St, W1K 4NB
Mon-Fri 10-5.30, Sat 11-4
Bond Street
ARAYA RASDJARMREARNSOOK :THE TWO PLANETS SERIES
Oct 10 - Nov 15, 2008 New film and photography from Thailand
ALISON JACQUES GALLERY
16-18 Berners St, W1T 3LN
Tue-Sat 10-6
Oxford Circus / Tottenham Ct Road
THOMAS ZIPP : WHITE DADA
Oct 17 - Nov 15, 2008
STEPHEN FRIEDMAN
25-28 Old Burlington St, W1S 3AN
Tue-Fri 10-6, Sat 11-5
Piccadilly Circus / Green Park
CATHERINE OPIE :THE BLUE OF DISTANCE
Oct 15 - Nov 15, 2008 New landscape photographs of Alaska
FRITH STREET
17-18 Golden Square, W1F 9JJ
Tue-Fri 10-6, Sat 11-5
Piccadilly Circus GIUSEPPE PENONE
Sep 12 - Oct 30, 2008 Sculptural and wall based works
HAUNCH OF VENISON LONDON
6 Haunch of Venison Yard, (off Brook St), W1K 5ES
Mon-Fri 10-6, Thur 10-7, Sat 10-5
Bond Street / Oxford Street
RAFAEL LOZANO-HEMMER
Oct 14 - Nov 16, 2008
HAUSER & WIRTH
196a Piccadilly, W1J 9DY
Tue-Sat 10-6
Piccadilly Circus / Green Park
GUILLERMO KUITCA Sep 24 - Nov 8
SADIE COLES HQ
35 Heddon St, W1B 4BP
Tue-Sat 10-6
Piccadilly Circus / Oxford Circus
FLORIAN HECKER Oct 14 - Nov 22, 2008 Sound installation
SIMON LEE
12 Berkeley St, W1J 8DT
Mon-Fri 10-6, Sat 11-4
Green Park / Bond Street
TOBY ZIEGLER Oct 15 - Nov 23, 2008
ALBION
8 Hester Rd, SW11 4AX
Mon-Fri 9.30-5.30, Sat 10-3
Sloane Square / Bus 49,345
AI WEIWEI Oct 14 - Nov 17, 2008
KATIE PATERSON Oct 14 - Nov 17, 2008
LISSON GALLERY
29 & 52-54 Bell St, NW1 5DA
Mon-Fri 10-6, Sat 11-5
Marylebone / Edgware Road
JULIAN OPIE Oct 15 - Nov 15, 2008
ICA (INSTITUTE OF CONTEMPORARY ARTS)
Nash House, The Mall, SW1Y 5AH
Daily 12-7.30
Charing Cross / Piccadilly Circus
ROBERTO CUOGHI : Oct 14 - Nov 23, 2008
MORETTI FINE ARTS
43-44 New Bond Street, W1S 4RL
Mon-Fri 10-6
Bond Street / Green Park
SHERRIE LEVINE Oct 13 - 31, 2008
176
176 Prince of Wales Rd, NW5 3PT
Thur & Fri 11-3, Sat & Sun 11-6
Chalk Farm / Kentish Town West Overgound
MATERIAL PRESENCE Sep 11 - Dec 14, Sculpture and installation from the Zabludowicz Collection.
SAATCHI GALLERY
Duke of York's Headquarters, King's Rd, SW3 4SQ
Monday - Sunday 10-6
Sloane Square
NEW ART FROM CHINA Oct 9, - Jan 18,
SOUTH LONDON GALLERY
65 Peckham Rd, SE5 8UH
Tue-Sun 12-6
Oval / Vauxhall then bus 36 or 436
RIVANE NEUENSCHWANDER :
SUSPENSION POINT Oct 3 - Nov 30,
THOMAS DANE GALLERY
11 Duke Street St James's, SW1Y 6BN
Tue-Fri 11-6, Sat 11-4
Green Park / Piccadilly Circus
MICHAEL LANDY Oct 14 - Nov 15, 2008
YVON LAMBERT
20 Hoxton Square, N1 6NT
Old Street
CARLOS AMORALES Oct 16 - Nov 15
The Louise T Blouin Institute
3 Olaf Street
W11 4BE
WANG GUANGYICOLD
17 October 2008 - 17 March 2009
MATT'S GALLERY
42-44 Copperfield Rd, E3 4RR
Sat & Sun 12-6
Mile End
ROY VOSS : PINE Sep 10 - Nov 2, 2008
CHISENHALE
64 Chisenhale Rd, E3 5QZ
Wed-Sun 1-6
Mile End / Bethnal Green
DAVID NOONAN Sep 12 - Oct 26, 2008
KARSTEN SCHUBERT
5-8 Lower John St, Golden Square, W1F 9DR
Mon-Fri 10-6
Piccadilly Circus
MATT MULLICAN :
Oct 8 - Nov 14, 2008
MODERN ART
23-25 Eastcastle Street, W1W 8DF
Tues-Sat 11-6
Oxford Circus
DAVID ALTMEJD Oct 17 - Nov 15, 2008
WHITECHAPEL
Angel Alley Entrance, 80-82 Whitechapel High Street, E1 7QX
Wed-Sun 11-6
Aldgate East / Aldgate
JENS HAANING : THE STREET Sep 11 - Nov 2, 2008
SHARYAR NASHAT &
RYAN TRECARTIN Oct 1 - Nov 7, 2008
WILKINSON GALLERY
50-58 Vyner Street, E2 9DQ
Wed-Sat 11-6, Sun 12-6 & by appt
Bethnal Green / Bethnal Green
CLEGG & GUTTMANN Oct 15 - Nov 16, 2008 Installation
16-19 October 2008
Regent’s Park, London
ZOO ART FAIR
17-20 October 2008
Royal Academy of Arts, Burlington Gardens, W1S 3EX
12.00 - 20.00 Daily; Monday 12.00 - 17.00.
Green Park / Bond Street
GAGOSIAN GALLERY
6-24 Britannia Street, WC1X
Tue-Sat 10-6 or by appointment
King’s Cross St. Pancras
RICHARD SERRA : SCULPTURE
Oct 4 - Dec 20, 2008
WHITE CUBE
48 Hoxton Square, N1 6PB
Tue-Sat 10-6
Old Street
JOSIAH MCELHENY : ISLANDUNIVERSE Oct 14 - Nov 15, 2008
WHITE CUBE
25-26 Mason's Yard, SW1Y 6BU
Tue-Sat 10-6
Piccadily Circus / Green Park
ROBERT IRWIN : LIGHT AND
SPACE Sep 17 - Oct 19, 2008
PARASOL UNIT FOUNDATION FOR CONTEMPORARY ART
14 Wharf Rd, N1 7RW
Tue-Sat 10-6, Sun 12-5
Old Street / Angel
CHARLES AVERY :THE ISLANDERS Sep 10 - Nov 8, 2008
VICTORIA MIRO GALLERY
16 Wharf Rd, N1 7RW
Tue-Sat 10-6
Old Street (Exit 8)
ELMGREEN & DRAGSET Oct 14 - Nov 15
BLOOMBERG
50 Finsbury Square, EC2A 1HD
Tue-Sat 11-6
Liverpool Street / Moorgate
FADE IN FADE OUT Oct 15 - Nov 29, 2008 Philippe Decrauzat, Cerith Wyn Evans, Kris Martin, Philippe Parreno
GIMPEL FILS
30 Davies St, W1K 4NB
Mon-Fri 10-5.30, Sat 11-4
Bond Street
ARAYA RASDJARMREARNSOOK :THE TWO PLANETS SERIES
Oct 10 - Nov 15, 2008 New film and photography from Thailand
ALISON JACQUES GALLERY
16-18 Berners St, W1T 3LN
Tue-Sat 10-6
Oxford Circus / Tottenham Ct Road
THOMAS ZIPP : WHITE DADA
Oct 17 - Nov 15, 2008
STEPHEN FRIEDMAN
25-28 Old Burlington St, W1S 3AN
Tue-Fri 10-6, Sat 11-5
Piccadilly Circus / Green Park
CATHERINE OPIE :THE BLUE OF DISTANCE
Oct 15 - Nov 15, 2008 New landscape photographs of Alaska
FRITH STREET
17-18 Golden Square, W1F 9JJ
Tue-Fri 10-6, Sat 11-5
Piccadilly Circus GIUSEPPE PENONE
Sep 12 - Oct 30, 2008 Sculptural and wall based works
HAUNCH OF VENISON LONDON
6 Haunch of Venison Yard, (off Brook St), W1K 5ES
Mon-Fri 10-6, Thur 10-7, Sat 10-5
Bond Street / Oxford Street
RAFAEL LOZANO-HEMMER
Oct 14 - Nov 16, 2008
HAUSER & WIRTH
196a Piccadilly, W1J 9DY
Tue-Sat 10-6
Piccadilly Circus / Green Park
GUILLERMO KUITCA Sep 24 - Nov 8
SADIE COLES HQ
35 Heddon St, W1B 4BP
Tue-Sat 10-6
Piccadilly Circus / Oxford Circus
FLORIAN HECKER Oct 14 - Nov 22, 2008 Sound installation
SIMON LEE
12 Berkeley St, W1J 8DT
Mon-Fri 10-6, Sat 11-4
Green Park / Bond Street
TOBY ZIEGLER Oct 15 - Nov 23, 2008
ALBION
8 Hester Rd, SW11 4AX
Mon-Fri 9.30-5.30, Sat 10-3
Sloane Square / Bus 49,345
AI WEIWEI Oct 14 - Nov 17, 2008
KATIE PATERSON Oct 14 - Nov 17, 2008
LISSON GALLERY
29 & 52-54 Bell St, NW1 5DA
Mon-Fri 10-6, Sat 11-5
Marylebone / Edgware Road
JULIAN OPIE Oct 15 - Nov 15, 2008
ICA (INSTITUTE OF CONTEMPORARY ARTS)
Nash House, The Mall, SW1Y 5AH
Daily 12-7.30
Charing Cross / Piccadilly Circus
ROBERTO CUOGHI : Oct 14 - Nov 23, 2008
MORETTI FINE ARTS
43-44 New Bond Street, W1S 4RL
Mon-Fri 10-6
Bond Street / Green Park
SHERRIE LEVINE Oct 13 - 31, 2008
176
176 Prince of Wales Rd, NW5 3PT
Thur & Fri 11-3, Sat & Sun 11-6
Chalk Farm / Kentish Town West Overgound
MATERIAL PRESENCE Sep 11 - Dec 14, Sculpture and installation from the Zabludowicz Collection.
SAATCHI GALLERY
Duke of York's Headquarters, King's Rd, SW3 4SQ
Monday - Sunday 10-6
Sloane Square
NEW ART FROM CHINA Oct 9, - Jan 18,
SOUTH LONDON GALLERY
65 Peckham Rd, SE5 8UH
Tue-Sun 12-6
Oval / Vauxhall then bus 36 or 436
RIVANE NEUENSCHWANDER :
SUSPENSION POINT Oct 3 - Nov 30,
THOMAS DANE GALLERY
11 Duke Street St James's, SW1Y 6BN
Tue-Fri 11-6, Sat 11-4
Green Park / Piccadilly Circus
MICHAEL LANDY Oct 14 - Nov 15, 2008
YVON LAMBERT
20 Hoxton Square, N1 6NT
Old Street
CARLOS AMORALES Oct 16 - Nov 15
The Louise T Blouin Institute
3 Olaf Street
W11 4BE
WANG GUANGYICOLD
17 October 2008 - 17 March 2009
MATT'S GALLERY
42-44 Copperfield Rd, E3 4RR
Sat & Sun 12-6
Mile End
ROY VOSS : PINE Sep 10 - Nov 2, 2008
CHISENHALE
64 Chisenhale Rd, E3 5QZ
Wed-Sun 1-6
Mile End / Bethnal Green
DAVID NOONAN Sep 12 - Oct 26, 2008
KARSTEN SCHUBERT
5-8 Lower John St, Golden Square, W1F 9DR
Mon-Fri 10-6
Piccadilly Circus
MATT MULLICAN :
Oct 8 - Nov 14, 2008
MODERN ART
23-25 Eastcastle Street, W1W 8DF
Tues-Sat 11-6
Oxford Circus
DAVID ALTMEJD Oct 17 - Nov 15, 2008
WHITECHAPEL
Angel Alley Entrance, 80-82 Whitechapel High Street, E1 7QX
Wed-Sun 11-6
Aldgate East / Aldgate
JENS HAANING : THE STREET Sep 11 - Nov 2, 2008
SHARYAR NASHAT &
RYAN TRECARTIN Oct 1 - Nov 7, 2008
WILKINSON GALLERY
50-58 Vyner Street, E2 9DQ
Wed-Sat 11-6, Sun 12-6 & by appt
Bethnal Green / Bethnal Green
CLEGG & GUTTMANN Oct 15 - Nov 16, 2008 Installation
Websites about Marcel Duchamp
“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”
Marcel Duchamp
If you want to know more about Duchamp please visit the following websites:
www.toutfait.com
www.marcelduchamp.net
www.understandingduchamp.com
Marcel Duchamp
If you want to know more about Duchamp please visit the following websites:
www.toutfait.com
www.marcelduchamp.net
www.understandingduchamp.com
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