Opening on 11 August 2017 is photographer EmmaElizabethTillman’s debut solo show entitled Disco Ball Soul. The exhibition, consisting of more than 90 collages created over a ten-year period, is an accumulation of photographs and texts taken from her new book of the same title. Tillman began this body of work in 2007, recording precious moments, including her meeting of her now husband Josh.
ArtAttack caught up with Emma to find out more about her thoughts on film, travel and making the private public.
Inspired by the Richard Brautigan cult classic, Sombrero Fallout: A Japanese Novel, young artist Lilias Buchanan has created a series of exquisitely detailed paintings to be debuted at Shapero Modern from 29th March – 11th April, 2017.
After reading Brautigan’s 1976 novel, Lilias became almost obsessed by the narrative, stopping people in the street who resembled its characters and practically buying eBay out of sombrero postcards. The result is this upcoming exhibition of technical, charming and at times chilling artworks.
Familiar desert landscapes intertwine with striking elements of collage and pencil drawings depicting strange encounters. Not having read the book makes it a bit tricky to figure out what’s going on, but somehow at the same time seems to make the work all the more intriguing.
‘Logic’ Courtesy of the Artist and Shapero Modern.
‘AZ 1492! Sombrero Town’ Courtesy of the Artist and Shapero Modern.
We were delighted to be able to speak with Lilias about her practice, this body of work and what’s to come for the London-based artist, whose work is already in the collection of HRH the Prince of Wales.
ArtAttack is proud to present our latest ‘Artist of the Week’, Ashley Bonser. Artists of the week are selected by the ArtAttack team from the diverse and eclectic group of artist users on our app.
Ashley Bonser is a visual artist who currently lives and works in Western Australia. She is a multidisciplinary artist, creating works with illustration, collage and print media. Her practise focuses on creating collage works that showcase the human body, demonstrating the connectivity human beings have with one another. Her work aims to present her subjects as intertwined, to show our ability to empathise and connect with each other. Using found imagery from magazines, she interprets images of people into a singular form.
I had the chance to talk to Ashley about her career so far, and find out more about her artistic practise.
ArtAttack sat down with American artist Raymond Salvatore Harmon to discuss his upcoming fundraiser exhibition Abstract Numerology.
All proceeds of the show will go to help fund the inaugural Beta Culture grants that will be open for submission the first week of January. The Beta Culture grant will fund artists/curators/writers and independent spaces with micro-grants from £500 to £1000.
My relationship with the annual Summer Exhibition at the Royal Academyhas, over the years, been an endless cycle of expectation and disappointment. For some reason, every year for about the past five years, from the time I first began visiting, I have always gotten up my hopes that I am about to see something different. Perhaps naive hopes; of course, the exhibition is steeped in tradition, having been around in the days of Turner and Constable. But should ‘tradition’ be equated with ‘stale’? I certainly don’t think so. Anyone who saw 2014’s Mr Turner will recall some of the most entertaining scenes in the film were set around the flamboyant atmosphere of a Summer Exhibition hang, artists heckling and mocking each other while adding the finishing touches to their paintings, while Turner himself boldly defaced his rival Constable’s sea view with a daub of red paint. Now, I’m not saying I’m expecting these kinds of puerile feuds to bring notoriety to the RA’s hallowed halls once more. But time after time, I’ve found myself feeling that the Summer Exhibition does indeed have something missing. So this year I was finally prepared to accept, no matter what reviews might say, that I was probably going to see the same show I always do. This time, my expectation was to find a scattering of Tracy Emin prints in Gallery 1; the architecture submissions in Gallery V; small public submissions littered, at the most affordable prices, with red dots in the Small Weston room. The usual stuff.
So imagine my surprise to find that was not indeed the case. This year, the exhibition has been co-ordinated by Michael Craig-MartinRA, known for his paintings of just about every mundane object you can think of, which he celebrates with a fluorescent pop art twist. He has clearly attempted to bring this same twist to the show, the first surprise being Jim Lambie’s delightful2 – ZOBOP zigzagging over the RA grand staircase, transforming visitor experience before you’ve even handed over your tickets. Continue reading →
From felted dogs humping in discreet corners, to a bathtub turned garden and replicated airline cabin complete with a not-so-typical safety video, I don’t think I’d be exaggerating to say that this show has it all, including some stunning painting and touching installation to boot. Furthermore, it is clear the students this year did not shy away from risk, but rather embraced it wholeheartedly. This fearlessness is obvious in the work and makes for a compelling, innovative and thrilling few hours of art.
Sometime between now and 16th August, do yourself a favour and make your way to Belsize Park for ‘Zabludowicz Collection: 20 Years‘ now on show at Zab London HQ. As for the launch event Thursday last, it was a real party — mini fish & chips were munched upon outside, whilst the G&T’s happily flowed indoors amongst some of the most provocative, beautiful and challenging contemporary art I’ve yet seen.
Commemorating 20 years of their collection, which focuses primarily on emerging artists, this exhibition is not only full of once-radical-now-classic YBAs like Damien Hirst, Martin Creed and Sarah Lucas, and international contemporary art figures the likes of Sigmar Polke, but also, perhaps most thrillingly, of young, emerging talent you may or may not have heard of yet.
In case it’s not already completely obvious, I love photography. Perhaps it’s my background in film, or the fact that the first time I can remember longing for love was when I set eyes on Robert Doisneau‘s photograph ‘Le Baiser de l’hôtel de ville,’ but whatever the reason, the medium has always been one I connect with.
And so last evening, I followed my passion for photo all the way to Shoreditch for the private view of Austrian artist, Anita Witek‘s, first UK solo show, ‘How to work live better‘ at l’étrangère gallery. Anita’s work in this exhibition, which combines montage, photography and installation, explores the manipulative nature of the photographic medium. By cutting and combining diverse photographic elements from printed sources that include magazines, newspapers, posters and books, Anita creates something wholly invented and completely new. So while the piece we are looking at it may very well appear to be, for example, a contemporary interior, it is actually just a fictional scene produced by a layering of utterly non-related material.
On Wednesday 11 March I left my flat in North West London in a huge rush. Midway through packing my suitcase for a trip to Vienna the next morning, I threw on my trusted Mick Jagger jumper over some silk joggers in major need of an iron, and hopped an Uber to Battersea. As much as I was looking forward to seeing UCLU Art Society‘s annual show, this year themed ‘Escape‘, I spent the entire cab ride slightly regretting having left the house considering how much I still had to do before my flight.
As my Spanish driver swiftly driver pulled up to The Gallery on The Corner, I was pleasantly surprised to see a huge queue of people waiting to get into the exhibition. I stood outside trying to get a glimpse of what awaited me within, and was immediately enticed by the sheet-clad female performance artist lying in the bay windows below what looked like a piece of fabric painted metallic silver, neon pink and blue. I knew right away this trek down South would not be in vain. (By the way, the performance artist turned out to be none other than Exhibition Director Ieva Matulaityte — can you say multi-talented?!)