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Published in Art Monthly, 1 December 2007
‘Fake/Function’ demonstrates Schutte’s exceptional ability to anticipate the conditions of the spaces in which his work will be seen and to incorporate those conditions into his work. It reminds us of his early preoccupation with the framework of the museum. The exhibition makes us conscious of how this mastery of context informs so much of Schutte’s subsequent work, from the celebrated commissions for Munster to the present sculpture for the Fourth Plinth in Trafalgar Square.
http://findarticles.com/p/articles/mi_6735/is_/ai_n28471108
Related Artists: Thomas Schütte
Published in ArtReview, December 2007 ( Issue 17 )
Though Schütte rejected the idioms of Düsseldorf, he has retained its belief that art should bear a social conscience, and he has frequently addressed both recent German history and current concerns. At Documenta in 1992 Schütte showed Die Fremden (The Foreigners), ceramic lifesize figures shaped like lumpen vases, with downcast eyes and assorted luggage, which were placed around the German city of Kassel. The strike at debates about ‘Germanness’ was unmistakable, but the figures themselves were fragile, sad things, which looked as if the political message they carried had been forced upon them, much as a train delay, discrimination or change in immigration laws might be. Their bottom halves were shaped like urns, and they resembled legless ‘little people’ toy dolls – a meeting point of Schütte’s imagination and political realities.
http://www.artreview.com/profiles/blog/show?id=1474022%3ABlogPost%3A5614
Related Artists: Thomas Schütte
Published in Art Forum, December 2007
Related Artists: Tacita Dean
Published in Art Forum, December 2007
Related Artists: Thomas Schütte
Published in BBC News online, 30 November 2007
More than 100 model fighter planes have been used to decorate a Christmas tree at the Tate Britain art gallery.
http://news.bbc.co.uk/2/hi/uk_news/england/london/7121633.stm
Related Artists: Fiona Banner
Published in Frieze, 29 November 2007
Occasionally prostrated, Dumas’ dead are both generic and specific, at once recalling the nameless humanity of Iraq and the now derelict tropes of painting.
Yet, scattered amongst the many bodies displayed on Dumas’ first solo exhibition in her native South Africa, there is a sampling of cherished subjects, ‘Intimate Relations’ as the title of this overdue survey reminds us.
http://www.frieze.com/shows/review/marlene_dumas
Related Artists: Marlene Dumas
Published in ArtNews, November 2007 ( 56 )
Colored-pencil drawings resemble topographical maps or aerial views of winding, disorganized cities like Rome. The enamel-on-aluminium works are based on the drawings and recall action paintings, but with a digitized, almost pixelated effect.
Related Artists: Ingrid Calame
Published in Art in American, November 2007
...Calame’s ambitious goal of merging high and low, infinite and infinitesimal, and arbitrary and intentional saves her work from being derivative.
Related Artists: Ingrid Calame
Published in Art Monthly, November 2007
Related Artists: Cornelia Parker
Published in The New York Times, 18 October 2007
Seeking to record “evidence of people” Ms. Calame began tracing stains in public places; at a church in her hometown; at the New York Stock Exchange; at the Lowell Observatory in Flagstaff, on random streets and sidewalks.
http://www.nytimes.com/2007/10/28/arts/design/28spea.html
Related Artists: Ingrid Calame
Published in 24 Hour Museum, 9 October 2007
Gathering acclaim even before he graduated, Schütte’s Academy work launched a glorious career encompassing numerous exhibitions worldwide, a commission for Trafalgar Square’s famous Fourth Plinth and the Golden Lion award at the 2005 Venice Biennale.
http://www.24hourmuseum.org.uk/exh_gfx_en/ART51305.html
Related Artists: Thomas Schütte
Published in The Brooklyn Rail, October 2007
When you stand close to one of Calame’s visually packed paintings, you are likely to forget that you are looking at a brightly colored copy of stains.
http://www.brooklynrail.org/2007/10/artseen/ingrid-calame-constellations
Related Artists: Ingrid Calame
Published in Art World, October/November 2007
Her meditative, often elegiac films create a welcome pause amid the frequent cacophony and discord of contemporary art, their long edits literally stopping you in your tracks. They achieve, with great subtlety, the subversion that others so brazenly crave.
Related Artists: Tacita Dean
Published in RIBA Journal, October 2007
‘I am trying to do the impossible and answer the question, is it possible to imagine a world beyond east and west? Henry is my astronaut. He is in both worlds, in limbo.’ - Fiona Tan
http://www.ribajournal.com/index.php/feature/article/Brief_encounter23/
Related Artists: Fiona Tan
Published in The Observer, 30 September 2007
Attempting to explain her scattershot obsessions, Parker has sometimes referred to herself as an artist of resurrection, intent on giving found objects new life in a different setting.
http://arts.guardian.co.uk/art/visualart/story/0,,2180135,00.html
Related Artists: Cornelia Parker
Published in New York Magazine, September 2007
Pretty? Yes. Vibrant? Sure. But it’s the artist’s process that sets these drawings and paintings apart from other contemporary abstractions. Ingrid Calame’s From #210 Drawing (Tracings up to the L.A. River) defies Jackson Pollock’s chance-driven splatter method by taking its inspiration from specific graffiti and paint spills found on city streets.
http://nymag.com/daily/entertainment/2007/09/vandalize_this.html
Related Artists: Ingrid Calame
Published in Royal Acedemy of Arts Magazine, Autumn 2007
Related Artists: Cornelia Parker
Published in ArtInfo, September 2007
Ingrid Calame creates abstract drawings and paintings that combine documentation of messy remains of human activity and explorations of scientific, religious, and economic institutions or places.
http://www.artinfo.com/news/story/25687/whats-in-your-studio-ingrid-calame/
Related Artists: Ingrid Calame
Published in The New York Observer, September 2007
Up close, each loop, scrape and drip is meticulously filled-in and unapologetically secondhand—no dramatics or spontaneity here, just cool contrivance. This is painting at the service of gimmickry, and it’s not unappealing.
http://www.observer.com/2007/chelsea-explained
Related Artists: Ingrid Calame
Published in IN New York, September 2007
To ‘gather information,’ which is how she refers to the visual details in her work, Calame and a team of assistants often kneel for hours at a time, carefully tracing.
Related Artists: Ingrid Calame
Published in The New York Times, September 2007
Her colored-pencil drawings and brightly enameled abstractions, however, have a sanitizing level of polish and a wearying consistency.
http://query.nytimes.com/gst/fullpage.html?res=9A03E4D81639F937A2575AC0A9619C8B63
Related Artists: Ingrid Calame
Published in Tacita Dean, September 2007
Related Artists: Tacita Dean
Published in The Observer, September 2007
‘Dean was forbidden to film the vitrines and objects on display and so she concentrated on the hessian wall coverings that have been there since Beuys installed his works but are now to be removed, despite marks on them made by the artist. This makes for an extraordinary 18-minute film concentrating on some patched, sun-bleached beige hessian with a past. Just as when she tracked down Donald Crowhurst’s wrecked boat for her 2000 work Teignmouth Electron, she has once again done us a valuable archival service.’
http://www.guardian.co.uk/artanddesign/2007/sep/23/art2
Related Artists: Tacita Dean
Published in Royal Acedemy of Arts Magazine No.96, Autumn 2007
Related Artists: Marlene Dumas
Published in The Guide, September 2007
Related Artists: Thomas Schütte
Published in Art Forum, September 2007
Related Artists: Thomas Schütte
Published in The Financial Times, August 18-19 2007
‘Innes shows that painting need not be restricted to making marks – subtracting them is a valid exercise too. At first, these works, with their organised, coloured squares, seem Mondrian-esque, but while Mondrian was concerned with the journey away from figuration, Innes is concerned with the journey from his blank canvas.’
http://www.ft.com/cms/s/0/aaf93e30-4c4f-11dc-b67f-0000779fd2ac.html?nclick_check=1
Related Artists: Callum Innes
Published in BBC, August 2007
‘Set within the far space, Sphere catches your eye and ear. A game of boules is underway with a French radio station’s commentary in the background to spur you on. However, the dynamics of the game have been tampered with as we are inside and an incongruous walnut has replaced the “cochon”. The walnut’s capricious surface generates an undeterminable game, as you are encouraged to appreciate the moment of throwing a shiny brass ball to its unknown fate.’
http://www.bbc.co.uk/dna/collective/A25427126
Related Artists: Massimo Bartolini
Published in Time Out, August 2007
‘Smith’s use of slow exposure, combined with the available lighting – which could be spotlights, fluorescent strips or chandeliers – brings a richness of colour to her images. Whether she’s highlighting the oak-panelled opulence of the Vintners’ Hall in Blackfriars or the Southall Working Men’s Club with its scuffed, checkerboard linoleum and cork-effect ceiling tiles, there’s a similar feeling of warmth: ‘That’s important because it shows both the vibrancy and inclusive nature of these clubs. In some ways they’re exclusive because you have to be a member, but that’s also what’s connecting people.’
http://www.timeout.com/london/art/features/3367/Bridget_Smith-interview.html
Related Artists: Bridget Smith
Published in Modern Painters, Jul/Aug 2007
Related Artists: Tacita Dean
Published in Guardian, The Guide, July 2007
‘Bartolini is able to infect the most brute urban environments with a monumental, often transcendental sculptural poetry. Manufactured detritus, often on a gargantuan scale, is played off against the most charming of natural delicacies.’
Related Artists: Massimo Bartolini
Published in The Newspaper, 2007 ( p. 25 )
‘Inside, Banner has culled together images from newspapers of fighter planes and helicopters from news reports on recent military actions. They have been cut out, identified and indexed in a scrapbook approach. The word ‘All’ in the title constructs a universe of totality, striving towards the control of achieving a complete collection, yet as any train-spotting mind will tell you, it is anything but complete.’
http://www.thenewpaper.co.uk/Artists/Bannermore.html
Related Artists: Fiona Banner
Published in The Dublin Review, Summer 2007
Related Artists: Tacita Dean
Published in CIRCA, Summer 2007
‘Much of what is encountered in Tacita Dean’s art is stirringly elusive. Like Werner Herzog chasing mirages in his esoteric documentary Fata Morgana , or like Bas Jan Ader forever lost “in search of the miraculous,” Dean is consumed by mystery. She demonstrates lasting delight in traces, apparitions, transcendent possibilities, yet there is an inexorable drift towards distraction and disappointment; the prevailing tone is elegiac. Often, we are brought to the brink of revelation - we may even catch a glimpse of ardently sought-after marvels - only for the epiphanic moment and any sure grasp of its significance to instantly pass, to flicker into nothingness.’
http://www.recirca.com/backissues/c120/p92_93.shtml
Related Artists: Tacita Dean
Published in The Flyer, June 2007
Calame explained, “Instead of exploring the everyday abjection of the street, I studied the mechanical spectacular of the Speedway.
Related Artists: Ingrid Calame
Published in Frieze Issue 108 , Jun-Aug 2007
On their website Raqs Media Collective, who formed in 1992, explain that Raqs ‘is a word in Persian, Arabic and Urdu and means the state that whirling dervishes enter into when they whirl. It is also a word used for dance. At the same time Raqs could be an acronym for “rarely asked questions”.’ Based in Delhi, India, the collective comprises three artists – Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta – who meet at the crossroads of art, documentary filmmaking, new media and critical theory; their work operates on the cusp of theoretical explorations and metaphorical and aesthetic discourse.
http://www.frieze.com/issue/article/raqs_media_collective/
Related Artists: Raqs Media Collective
Published in El Pais, Cataluna, June 2007
Related Artists: Massimo Bartolini
Published in Metro, May 16 2007
Related Artists: Tacita Dean
Published in Elle Decor, May 2005
Copying Stains allows her to remove from the process the instrument of her body - the Pollock-style painter-as-slingshot. “The mark that an action painter makes has to do with expression, but this is different,” she explains. “They look like abstract paintings, but they’re really representational.” And the fact that they represent, in effect, dross (maybe some of it it even yours) makes their abstraction cuttingly concrete.
The last setting makes a neat link to Calame’s childhood dream of drawing a map of the universe. “But I never knew where to start,” she recalls. Now, she’s making maps of what was instead of what is. They won’t help you find your way, but they should make the spot where you’re standing seem a little more interesting.
Related Artists: Ingrid Calame
Published in Totally Dublin, May 2007
Related Artists: Tacita Dean
Published in Art in America, May 2007
‘Since the images in the exhibition are both psychologically resonant on fully independent terms and, for the most part, gorgeous in the extreme, this insistence on their entanglement with words is, at first, perplexing. Looking seems all that’s called for, a swoon the proper response. But it is precisely the work’s exceeding richness in scale, glamour and emotion that suggests that Horsfield’s very generosity as an image-crafter is a conceptual strategy.’
http://findarticles.com/p/articles/mi_m1248/is_5_95/ai_n25439031/
Published in The Globe and Mail, 14 Apri 2007 ( p. 6 )
Related Artists: Fiona Banner
Published in The Australian, April 7 2007
CALM, beautiful and intimate, the photographs of Craigie Horsfield also pulse with a kind of heartache. Their intense beauty is overt and covert; dissonant forces play surreptitiously beneath their seductive surfaces.
http://www.theaustralian.news.com.au/story/0,25197,21497395-16947,00.html
Published in The Guardian, 3 April 2007
In terms of its emotional and intellectual impact, this a truly monumental work, and yet this is just a piece of paper pinned to the wall. Its sculptural strength and sublime Romantic impact (reminiscent of the art of Caspar David Friedrich, which, living in Berlin, Dean probably sees a lot of) come from actual aesthetic achievement.
http://arts.guardian.co.uk/art/visualart/story/0,,2048866,00.html
Related Artists: Tacita Dean
Published in The Art Newspaper, April 2007 ( No. 179 p. 17 )
Related Artists: Fiona Banner
Published in The Spectator, March 31 2007
Despite Innes’s sensitive use of colour elsewhere, the outstanding paintings in this exhibition are monochromatic. ‘Two Identified Forms’, 1995, ‘Three Identified Forms’, 1993 (Tate Gallery), and ‘Monologue Seven’, 2003, encapsulate the artist’s ideas about ‘fragility and flow’ and achieve a veil of shifting impressions and presences.
http://www.spectator.co.uk/the-magazine/arts/28807/part_2/shifting-impressions.thtml
Related Artists: Callum Innes
Published in The Irish Times, March 28 2007
‘Dorothy Cross was much taken with the amateur zoologist Maude Delap, who lived a life that, from the outside, may have seemed marked by personal disappointments and the social and cultural limitations and constraints of her time, but was also extraordinarily rich and fulfilled.’
Related Artists: Dorothy Cross
Published in The Irish Times, March 20 2007
‘Tacita Dean’s preference for analogue over digital mediums betrays her love of obsolete technologies’
Related Artists: Tacita Dean
Published in The Independent on Sunday, 18 March 2007
http://www.independent.co.uk/travel/news-and-advice/tacita-dean-in-search-of-inspiration-440791.html
Related Artists: Tacita Dean
Published in Now Magazine, 15-21 March 2007 ( p. 71 )
‘Banner’s work is a subtle and engaging reading of the relationship between culture, the body and language, with some accessible humour and wit thrown in.’
http://www.nowtoronto.com/art/story.cfm?content=156485&archive=26,28,2007
Related Artists: Fiona Banner
Published in Now Magazine, 15 - 22 March 2007 ( VOL 26 NO 28 )
Her new show, The Bastard Word, goes further into the forms of language and the language of forms, using fighter planes and the classic human nude as starting points to explore themes that have occupied her over the years: the seductive power of the image over the word in pop culture, the gap between language and object, the iconography of the military and the deployment of sexuality.
http://www.nowtoronto.com/art/story.cfm?content=156485&archive=26,28,2007
Related Artists: Fiona Banner
Published in The Observer, March 11 2007
‘… the exhibition’s climax is to be found in the final gallery: a series of canvases entitled Exposed Painting, Dioxazine Violet. This is mature work; it has a real sense of authority and not only because Innes has used a paint colour that brings papal robes irresistibly to mind. I love the way these works talk to each other, each of them subtly different from the last. They form an echo chamber of colour and mood. One half of the painting shouts to another, but all that comes back - after Innes has set about it with his oily chemical - is a kind of ghostly cry. Stare at them for long enough and their murkiest corners start to resemble a shroud imprinted with the memory of what lay on it. Or perhaps this is just an over-the-top way of saying that their image stays with you long after you have left them.’
http://arts.guardian.co.uk/art/visualart/story/0,,2031012,00.html
Related Artists: Callum Innes
Published in Now magazine, 8-14 March 2007 ( p. 89 )
Related Artists: Fiona Banner
Published in Globe and Mail, 8 March 2007 ( p. 5 )
Related Artists: Fiona Banner
Published in Toronto Life, 5 March 2007
Related Artists: Fiona Banner
Published in Toronto Star, 3rd March 2007 ( p. 3 )
Related Artists: Fiona Banner
Published in AKIMBO, March 2007
Related Artists: Fiona Banner
Published in Now Magazine, 1-7 March 2007 ( p. 79 )
Related Artists: Fiona Banner
Published in Art Auction, March 2007
Related Artists: Tacita Dean
Published in Verve, March 2007 ( Volume 15, Issue 3 )
‘I wanted to be open to the surprises life has to offer, to be free to be as I am. For six winters, I travelled with Zakir and all the musicians he played with. Zakir became my mentor. I think my true learning comes from those travels, listening to the finest classical musicians night after night.’ – Dayanita Singh
http://www.verveonline.com/47/life/dayanita.shtml
Related Artists: Dayanita Singh
Published in E-Flux, 28 February 2007
The Bastard Word, curated by The Power Plant Director, Gregory Burke, is an exhibition of new and recent work that brings together a range of sculptures, installations, drawings, and a selection of newer pieces that are among her most ambitious to date. Banner investigates the limits and possibilities of written language, drawing on source material from military hardware and films to pornography and the tradition of the nude.
http://www.e-flux.com/shows/view/4014
Related Artists: Fiona Banner
Published in Oxford Times, February 15 2007
(Callum Innes’s) paintings, which are the result of repeated application and removal of paint from the canvas, are often admired for their enigmatic and meditative quality. Many suggest they have a deep spiritual quality too.
http://www.theoxfordtimes.net/search/display.var.1195467.0.callum_innes_modern_art_oxford.php
Related Artists: Callum Innes
Published in Saturday Guardian, February 10 2007
Dean’s camera follows Hamburger as he goes about his business. Maybe he’s in his study, reading something, with the smoke curling over his shoulder. We sneak up behind him. The sound of his exhalations and the smacking of his lips are so poignant we can almost taste the tobacco burning his throat.
http://www.guardian.co.uk/books/2007/feb/10/art.art
Related Artists: Tacita Dean
Published in El Mundo, February 8 2007
http://www.elmundo.es/papel/2007/02/08/cultura/2082537.html
Published in El Pais, February 6 2007
Published in Oxford Times, February 2007
The result (Innes) obtains in the untitled picture featuring shellac is quite remarkable. It comes about by drawing on the oppositional qualities of shellac and paint to make luminously associative imagery. While the dark spots in this work appear to be as randomly dispersed as anything Jackson Pollock may have produced, they are in fact carefully manipulated into place - and to great effect.
http://www.theoxfordtimes.net/search/display.var.1195467.0.callum_innes_modern_art_oxford.php
Related Artists: Callum Innes
Published in Reading Evening Post, January 25 2007
Related Artists: Callum Innes
Published in Telegraph Magazine, 20 January 2007
Much of Tan’s work is concerned with remixing existing images in a manner that gives the result an ethnographic kick. Rediscovered photographic portraiture, for example, is the key to her video installation The Changeling
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/01/20/smfiona20.xml
Related Artists: Fiona Tan
Published in The Los Angeles Times, 19 January 2007
(Polly Apfelbaum’s) rapidly scrawled drawings on brightly colored swathes of velvet make a place for messiness in an over-tidy world of over-designed preciousness. They turn the whiplash abandon of making a mess into an ethos for life lived in the moment, with no holding back and everything laid on the line.
http://articles.latimes.com/2007/jan/19/entertainment/et-galleries19
Related Artists: Polly Apfelbaum
Published in Tehelka, 14 January 2007
Related Artists: Dayanita Singh
Published in The Telegraph Calcutta, 11 January 2007
(Dayanita Singh), with her Hasselblad, is a participant in the quietly noble defiance of loss and disappearance that human lives often are — without losing sight of, or sentimentalizing, the pathos, humor and fragility of that defiance.
http://www.telegraphindia.com/1070111/asp/opinion/story_7243529.asp
Related Artists: Dayanita Singh
Published in India Today, 1 January 2007
‘From intensely human and personalised images, she shifts focus -without losing the slightest empathy-to inanimate objects like chairs, empty theatres and deserted landscapes to create intensely moving images. Here Man, like God in Faiz’s famous line: “hazir bhi hai, ghayab bhi”. That he is in attendance and absconding at the same time.’
http://archives.digitaltoday.in/indiatoday/20070101/week.html
Related Artists: Dayanita Singh
Published in Art of England, January 2007
Related Artists: Annelies Strba
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