Frith Street Gallery

Golden Square

17-18 Golden Square, London W1F 9JJ
T +44 (0)20 7494 1550 ~ F +44 (0)20 7287 3733

Press relating to Cornelia Parker

  • Found art: Cornelia Parker and Jarvis Cocker share their spoils ~ Charlotte Higgins

    Published in The Guardian, May 2016

    The tooth of a sperm whale, a street sign to a ghost village, issues of Romania Today … Cornelia Parker’s new show is a treasure trove of finds chanced upon by everyone from Jarvis Cocker to Marina Warner.

    Related artists: Cornelia Parker

  • Atop the Met, a Haunting House ~ Roberta Smith

    Published in The New York Times, April 2016

    “Transitional Object (PsychoBarn)” is more forthright, and accepts gravity. It is a classic haunted house known not only from “Psycho” but from American horror movies in general, as well as the deliciously macabre Charles Addams cartoons. It can startle, whether you see it on the Met’s roof or spy it from a Central Park walkway. The park view may be the more disturbing. Instead of simple Surrealist displacement, the structure seems more truly like an apparition, a ghostly reminder of 19th-century America’s once-thriving towns and small cities.

    Related artists: Cornelia Parker

  • Cornelia Parker’s New Rooftop Show Will Launch a Thousand Date Nights ~ Leslie Camhi

    Published in Vogue, April 2016

    Framed by spectacular views of Fifth Avenue apartment buildings, midtown skyscrapers, and Central Park (the latter sculpted by Frederick Law Olmsted), the work opens a dialogue between urban and rural, artifice and nature, old and new, in an ever-shifting city where the ramshackle increasingly gives way to whatever is shiny and modern. It also evokes the storied legacy of New York City rooftops—dotted with water towers, penthouses, mechanical sheds, and gardens—as places where the imagination takes flight.

    Related artists: Cornelia Parker

  • Kings and needles: the Magna Carta gets an embroidery update ~ Jonathan Jones

    Published in The Guardian, May 2015

    The Guardian’s editor-in-chief wounded himself to help create Cornelia Parker’s giant embroidery commemorating 800 years of Magna Carta. Tiny brown spots of Alan Rusbridger’s blood can clearly be seen on the brilliant white fabric, after he pricked his finger while embroidering the words “contemporary political relevance”.

    Related artists: Cornelia Parker

  • Cornelia Parker at Whitworth Art Gallery, Manchester ~ Rachel Spence

    Published in Financial Times, February 2015

    Cornelia Parker has thought long and hard about what it means to be an artist in the 21st century. She knows that our world is in acute physical peril. She also knows that, for millions, global warming is the least of their worries. She has interviewed Noam Chomsky about environmental catastrophe but she has also listened to Palestinian Muslims talking about what it means to have the ground stolen from beneath their feet.

    Related artists: Cornelia Parker

  • Cornelia Parker: “I don’t want to tick anyone else’s boxes” ~ Tim Adams

    Published in The Observer, January 2015

    “I have never fitted neatly into the arts section, I don’t think,” Cornelia Parker says, with the briefly explosive laugh that punctuates most of her efforts at self-analysis. “I’ve always wanted to kind of trespass elsewhere as much as possible.”

    Related artists: Cornelia Parker

  • Cornelia Parker : Frith Street Gallery ~ Anna Lovatt

    Published in ArtForum, October 2013

    Despite its ostensibly humble, idiosyncratic materials and elegant post-Minimalist aesthetic, Cornelia Parker’s work is often infused with a frisson of danger, the aura of celebrity, or the lure of the spectacle. All three are manifest in The Maybe, her 1995 collaboration with Tilda Swinton, in which the actress lies, apparently asleep, inside a glass vitrine. Reprised intermittently at the Museum of Modern Art in New York over the course of this year, the work had drawn criticism for pandering to our culture’s obsession with celebrity, albeit in acceptably high brow form. And indeed, there is something troubling about Parker’s visually seductive practice, which offers vicarious encounters with violence, fame, and illicit substances, all rendered palatably abstract.

    Related artists: Cornelia Parker
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  • The Arts Interview ~ Nicholas Wroe

    Published in The Guardian, June 2013

    ‘I’ve always been happy to sleep with the enemy’
    The artist tells Nicholas Wroe that getting out of her comfort zone and challenging prejudices is what makes her tick.

    Related artists: Cornelia Parker
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  • Front Row ~ With Mark Lawson

    Published in BBC Radio 4, June 2013

    Cornelia Parker is best known for installations involving the exploding of a garden shed, Tilda Swinton sleeping in a glass case and the wrapping of Rodin’s The Kiss in a mile of string. She reflects on her latest exhibition, and a new book on her work.

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  • Night Waves ~ Anne McElvoy

    Published in BBC Radio 3 , June 2013

    Cornelia Parker: As a comprehensive inventory of sculptures and installations from 1970 to the present comes out, complete with commentary by the artist herself, her latest works go on show in London. As restlessly inventive as ever, Parker takes us round the exhibition and explains how cracks in pavements evolve into bronze monuments via molton rubber

    Related artists: Cornelia Parker
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