Coastal Gallery Blog

FRIEZE ART FAIR 3-6 October 2019

Tickets for Frieze London and Frieze Masters are now on sale. Tickets are limited and available to purchase online, book yours now so you do not miss out.
Thursday Preview (12-8pm): Be the first to see the fairs with our Preview tickets which include early access to both Frieze London and Frieze Masters along with a copy of frieze magazine in a limited-edition tote bag.
Thursday Private View (5-8pm): Enjoy access to either Frieze London or Frieze Masters Private View.
Combined entry (Frieze London & Frieze Masters): Enjoy access to both fairs on the same day, tickets are day-specific and available Friday – Sunday.
Afterwork (Friday 5-7pm): Enjoy access to either Frieze London or Frieze Masters after work on Friday for £27.
Timed entry (Frieze London Saturday & Sunday): Entry tickets to Frieze London over the weekend will be timed. Tickets are available for entry at 12-2pm and 3pm.
Student/Youth (13-18yrs): Starting at £26, tickets are available for full-time students with a current NUS/ISIC card and children from 13 to 18 years old. Children under 16 must be accompanied by an adult at all times.
Child (2-12yrs): Tickets for children from 2 to 12 years old. For security reasons, children must be accompanied by an adult at all times and will require a white wristband to enter the fair, which will be issued by the ticketing office. The parent’s/guardian’s name and their phone number should be written on the wristband.

Royal Academy of Arts – Tracey Emin & Edvard Munch

An exhibition pairing the British artist Tracey Emin with her “hero” Edvard Munch will travel to the Royal Academy of Arts in London in November 2020 after first opening at Oslo’s new Munch Museum next spring.
Emin says she “never imagined” she would have a show at the Royal Academy “and not in a million years did I ever think that I’d show with my hero Munch… I’m lucky!”
Details of the exhibition are still largely under wraps, but it is expected to draw on the parallels between the two artists’ work—both are masters at expressing the human condition, often agonisingly so. Emin has said she first fell in love with Munch’s work because he made a painting called Jealousy that was about himself. “I thought it was an incredibly open, self-effacing and defiant thing for a man in the early 20th century to do,” she told the Independent newspaper in 2009.
If Emin herself is to select works by Munch for the show, as she did in 2015 for an exhibition with Egon Schiele at the Leopold Museum in Vienna, there are rich pickings at the Munch Museum. It owns 45,000 objects bequeathed to Oslo by the artist on his death in 1944, including 1,100 paintings, 6,800 drawings and 18,200 works of graphic art.
The Royal Academy show will be a homecoming in many ways for Emin, who became a Royal Academician in 2007 and was the Royal Academy Schools’ professor of drawing between 2011 and 2013. The Royal Academy is also where Emin first rose to prominence in 1997, exhibiting her appliquéd tent, Everyone I Have Ever Slept With 1963-1995 (1995), in Charles Saatchi’s Sensation exhibition, which garnered tabloid headlines and cemented many of the YBAs in the public consciousness.
Over the past few years, Emin has eschewed the controversy of her earlier work in favour of painting and—most recently—bronze sculptures, a monumental example of which will be permanently installed outside the Munch Museum on Museum Island in September 2020. The Mother, a nine-metre sculpture of a kneeling woman, which Emin says could be her mum, beat six other proposals by artists including Olafur Eliasson and Ragnar Kjartansson to be awarded the prestigious commission. Emin’s mother Pam died in 2016.
“I can’t believe it, it sounds so untrue. I am having my mum, a giant bronze, The Mother, in front of the Munch Museum at the same time [as being the] opening show at the Munch Museum,” Emin told The Art Newspaper Podcast <www.theartnewspaper.com/podcast/tracey-emin-on-mourning-and-metoo-george-shaw-on-realism-and-rembrandt> in February at the launch of her exhibition, A Fortnight of Tears, at White Cube Bermondsey. The show included a smaller, three-metre version of The Mother.
“It’s going to be fantastic, this giant bronze of my mum, this older woman, this old lady, taking root in front of the Munch Museum, protecting Munch’s work, legs open towards the fjord, welcoming travellers. I’m so happy about it, I never thought I’d get it,” Emin says.
Describing being paired with Munch for the exhibition as “like a dream”, Emin says: “It’s everything I ever wanted as an artist. It’s unbelievable. And it’s partly because I am doing the right thing. I’m going towards the direction of what I really love, not what people think I should be doing. I think that’s what was recognised when I won the commission for The Mother. My love for Edvard Munch shone and shone and shone.”
The Munch Museum’s recent exhibition programme has mostly focused on pairing Munch with artists who have explored similar themes in their art, including Vincent van Gogh, Jasper Johns, Robert Mapplethorpe and Marlene Dumas. The institution’s new building is due to open next May in Bjorvika, a waterside area in central Oslo, and will join the Norwegian capital’s Snøhetta-designed Opera House and a new public library also due to open next year that will house a work by the British artist Katie Patterson.<www.theartnewspaper.com/news/how-to-future-proof-a-work-of-art-that-will-not-be-completed-for-100-years>
Emin’s last major institutional exhibition in London was a mid-career retrospective at the Hayward Gallery in 2011, although it did not include her two most famous works: the tent—which was destroyed in the 2004 Momart warehouse fire—and My Bed (1998). She is currently the subject of a show at the Musée d’Orsay in Paris, for which she has selected rarely seen drawings from the museum’s collection to hang alongside her own (until 29 September).
More News<www.theartnewspaper.com/news>TopicsTracey Emin<www.theartnewspaper.com/tracey-emin>London<www.theartnewspaper.com/london>Edvard Munch<www.theartnewspaper.com/edvard-munch>Norway<www.theartnewspaper.com/norway>Royal Academy of Arts<www.theartnewspaper.com/royal-academy-of-arts>OsloThe Munch Museum <www.facebook.com/sharer.php?u=http://theartnewspaper.com/news/tracey-emin-and-edvard-munch-joint-show-on-its-way-to-london-s-royal-academy-of-arts> <twitter.com/intent/tweet?url=http://theartnewspaper.com/news/tracey-emin-and-edvard-munch-joint-show-on-its-way-to-london-s-royal-academy-of-arts&text=Tracey%20Emin%20and%20Edvard%20Munch%20joint%2…> <mailto:?subject=Tracey%20Emin%20and%20Edvard%20Munch%20joint%20show%20on%20its%20way%20to%20London%E2%80%99s%20Royal%20Academy%20of%20Arts&body=http://theartnewspaper.com/news/tracey-emin-and-edvar…>

LONDON ART NEWS – SAATCHI GALLERY

BRITISH AIRWAYS PRESENTS: BA 2119: FLIGHT OF THE FUTURE 1st August 2019 / All<www.londonartnews.co.uk/category/all/>, Event<www.londonartnews.co.uk/category/event/>, Talks<www.londonartnews.co.uk/category/talks/>, Visual Arts<www.londonartnews.co.uk/category/visual-arts/>
Saatchi Gallery Duke of York’s HQ King’s Rd Chelsea London SW3 4RY
August 1 to August 26, 2019
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BRITISH AIRWAYS PRESENTS: BA 2119: FLIGHT OF THE FUTURE; AN EXHIBITION EXPLORING AVIATION OVER THE NEXT 100 YEARS AT LONDON’S SAATCHI GALLERY
• British Airways collaborates with Royal College of Art for a first-of-its-kind exhibition • The exhibition follows global research identifying what aviation could look like over the next 100 years • An immersive, full motion, virtual reality experience, Fly, will be available for gallery visitors to experience humankind’s relationship with flight • A panel event to launch the exhibition will see leading futurists, designers and aviation specialists explore the research and discuss the travel experience of the next 100 years
To celebrate its centenary British Airways is launching BA 2119: Flight of the Future, a first-of-its-kind exhibition looking ahead to the next 100 years of flying and imagining what that may look like.
The exhibition will open throughout August, British Airways’ birthday month, and is based on in-depth global research commissioned by the airline to identify what aviation could look like in 20 years, 40 years, 60 years and beyond.
BA 2119: Flight of the Future, in collaboration with the Royal College of Art, seeks to push the boundaries of imagination and explore how future generations will circumvent the globe in a world of advanced jet propulsion, hyper personalisation, automation, AI, modular transport, sustainability, health and entertainment.
Set to take place at the Saatchi Gallery in London, forty postgraduate students from the Royal College of Art have been working on the project to imagine the future of flight in both digital and physical form. Exploring trends and drivers from the research commissioned by British Airways through respected insights organisation, Foresight Factory, the students are looking at the future through three lenses; aircraft, experience and people. The exhibition acknowledges that the desire and ability to travel is set to grow and focuses on sustainability and technology to drive change.
Alongside the installations will be a one-of-a-kind, full motion, virtual reality experience charting the history of flying and looking forward to the future for visitors who purchase tickets in advance.

Metropolitan Museum of Art – New York

This is not the Met of Philippe de Montebello, someone remarked at the Metropolitan Museum of Art’s annual spring media press breakfast today, referencing the institution’s venerable former director from 1977-2008. And about nine months since he took over as director<www.theartnewspaper.com/news/max-hollein-is-the-next-director-of-new-york-s-metropolitan-museum-of-art>, Max Hollein is indeed making his mark at the New York institution.
Hollein’s commitment to integrating Modern and contemporary art at the Met’s Fifth Avenue building is evident in the upcoming exhibition programme, most notably, the fulfilment of his promise of new annual commissions for two public spaces. The Cree Canadian artist Kent Monkman, whose practice is “a new idea of modern history painting”, Hollein said, will make monumental paintings for the Great Hall (19 December-12 February 2020). And the Kenya-born artist Wangechi Mutu, who makes pieces with “fantastic otherworldly narratives”, Hollein said, has been chosen for the first ever project for the empty sculptural niches on the Fifth Avenue façade. She is creating sculptures—already being cast, Hollein said—based on works in the Met’s collection (9 September-12 January 2020).
While Mutu’s sculptures are the first site-specific pieces, Hollein was careful to point out that one of the niches had been “used” before—by the beloved children’s television character Big Bird, who posed playfully in them for a 1983 Sesame Street special titled Don’t Eat the Pictures (a museum etiquette tip from his friend Cookie Monster).
The packed line-up presented by Hollein and the Met’s deputy director for exhibitions, Quincy Houghton, also includes several solo artist presentations, such as this month’s premiere of the Icelandic artist Ragnar Kjartansson’s seven-screen video installation Death Is Elsewhere (30 May-2 September); a retrospective of the late Indian sculptor Mrinalini Mukherjee (4 June-29 September) at the Met Breuer (although further plans for the Met outpost<www.theartnewspaper.com/news/met-to-leave-breuer-building-making-way-for-the-frick> were not discussed); and a survey of the Swiss-French Modern artist Félix Vallotton (29 October-26 January 2020), which will pair his portrait of Gertrude Stein along with Picasso’s, one of the centerpieces of the Met’s Modern collection. The omnipresent Leonardo will be represented in a single-work display of Saint Jerome in the Wilderness (around 1480), which might have belonged to the 18th-century Swiss painter Angelika Kauffmann, on loan from the Vatican Museums (15 July-6 October).
Meanwhile, marking “a very important milestone”, the Met’s president and chief executive Daniel Weiss presented a balanced budget for the first time in three years. (The museum ended the 2016 fiscal year with a deficit of $8m, down from a potential $40m. Its current annual operating budget is $350m.) The Met’s controversial change<www.theartnewspaper.com/news/new-york-s-metropolitan-museum-to-charge-out-of-town-visitors> last year to scrap its pay-what-you-wish admissions policy for non-New Yorkers “helped us with our finances, but didn’t affect access or feeling of welcome” to the museum, Weiss said, and there was “no negative effect” on attendance among any measured group.
Weiss also discussed multiple building and renovation projects, including the ongoing $150m European Paintings Skylights Project, launched last summer and due to be completed in 2022—which he said “is not especially glorious, but it’s really important”. While Weiss generally discussed the need for an overhaul of the Lila Acheson Wallace wing for Modern and contemporary art—which “looks a little bit like a prison” from Central Park, he said—he did not give an updated timeline for the planned Chipperfield-designed Modern and contemporary addition, which is expected to cost $500m and was put on hold in 2017.

White Cube – Sarah Morris – until 30th June

White Cube Bermondsey presents Sarah Morris’s first solo show in the UK in six years. Featuring paintings, films, a site-specific wall painting as well as the artist’s first sculptural work, the exhibition reflects Morris’s interest in networks, typologies, architecture and the city, articulated through colour and geometric abstraction.
Throughout her career, Morris has been drawn on a wide range of subjects, from American corporate identities and graphics to GPS technologies, mapping and psychology. In her work, she explores systems of flow within cities, whether that be production, commuters, pedestrians, vehicles or currencies.
In this exhibition, Morris presents new works from her ‘Sound Graph’ series. Using coordinates of audio recordings as the basis for the works’ structure, the resulting rigorous compositions consist of hard-edged, colourful shapes, bars and dots, to create a rhythmic flow which together draws the eye across the surface of the canvas. Words are presented as visual information and speech is transformed into image, evoking volume, movement and encoded data.
Morris also debuts a large-scale wall painting titled Ataraxia, the title of which alludes to a state of extreme calm and tranquillity. This notion is in contrast to the highly anticipatory and adrenaline-fuelled momentum of Morris’s films, including Abu Dhabi (2017) which was commissioned by the Guggenheim, alongside Finite and Infinite Games (2017).
In a departure for the artist, large sculptural work is displayed in the 9 × 9 × 9 gallery. Made with lacquered modular scientific glass, the work serves to conjure both interior and exterior landscapes, articulating the exhibition space and challenging the perception of the viewer.
Duration 17 April 2019 – 30 June 2019 Times Tuesday – Saturday 10am – 6pm Sunday 12pm – 6pm Cost Free

London Art Exhibitions

Henry Moore: The Helmet Heads The Wallace Collection 6 March – 23 June 2019
This ground-breaking exhibition reveals the untold story of Henry Moore’s lifelong fascination with armour at the Wallace Collection, inspiring the creation of his celebrated Helmet Head series. see website for prices
Visit Here for more info<www.wallacecollection.org/> www.wallacecollection.org
Hito Steyerl Serpentine Sackler Gallery 6 March – 6 May 2019 Actual Reality OS (Digital Commission) – Launches 6 March 2019. The Serpentine presents a new project by Hito Steyerl, German filmmaker, visual artist, writer and innovator of the essay documentary
Visit Here for more info<www.serpentinegalleries.org/>
Only Human: Photographs by Martin Parr National Portrait Gallery 7 March – 27 May 2019
A major new exhibition of works by Martin Parr, one of Britain’s best-known and most widely celebrated photographers.

Top of the Pots – The Smashing rise of Studio Ceramics

Its elegant shape was inspired by ancient Aegean figures and its pleasingly mottled surface made it feel like it had just been dug up from the ground. Yet when it was first sold in the 1970s, this understated vase by the late British potter Hans Coper<www.sothebys.com/en/news-video/blogs/all-blogs/sotheby-s-at-large/2016/11/hans-coper-works-in-focus.html> changed hands for just £250. An unloved present, the creation was then kept in an old shoebox by its recipient, who finally decided to offload it last month – and was stunned to see its price soar to £381,000 at auction<www.theguardian.com/artanddesign/2018/mar/14/record-hans-coper-vase-auction>, a figure you might expect for certain Ming dynasty or Picasso vessels.
The world of ceramics was stunned too, but not as much as it might once have been. While it’s true that Coper is a key figure in British studio pottery, with works in London’s V&A and New York’s Metropolitan Museum of Art<www.theguardian.com/artanddesign/art>, what this whopping sum – more than double the previous record for a Coper – really reflects is the fact that ceramic art is currently experiencing something of a boom.
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Last month’s Ceramic Art London<ceramicartlondon.com/>was oversubscribed like never before, with a queue of pottery nuts snaking around Central St Martins College, impatient to bag top contemporary pieces while they could still afford them (prices ranged from £30 to £10,000). The previous weekend, the Barbican’s conservatory was transformed into another ceramics fair, this time showcasing 60 artists from theTurning Earth<e2.turningearth.uk/> collective’s two London studios. Many of these makers got their starts through taking classes there, while similar urban ceramic-making communities that pool resources and share kilns are flourishing across the country, including Glasgow Ceramics Studio <glasgowceramicstudio.com/> and Clay Studio Manchester<www.claystudio.co.uk/>.
In Cambridge, meanwhile, the Fitzwilliam Museum is celebrating a “spring of ceramics” with two simultaneous shows. The larger one, called Things of Beauty Growing<www.fitzmuseum.cam.ac.uk/calendar/whatson/things-beauty-growing-british-studio-pottery>, is a major survey of British studio pottery – a first for the museum, which is responding to what co-curator Helen Ritchie refers to as “a steady rise of interest” in the museum’s 20th and 21st-century ceramics stash.
<www.theguardian.com/artanddesign/2018/apr/18/top-of-the-pots-the-smashing-rise-of-ceramics#img-2> [Influence … Asymmetrical Reduced Black Piece, by Magadalene Odundo, incoming chancellor of the University for the Creative Arts.] Facebook<www.facebook.com/dialog/share?app_id=180444840287&href=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2018%2Fapr%2F18%2Ftop-of-the-pots-the-smashing-rise-of-ceramics%3FCMP%3Dshare_btn_fb%26page…>Twitter<twitter.com/intent/tweet?text=Top%20of%20the%20pots%3A%20the%20smashing%20rise%20of%20ceramics&url=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2018%2Fapr%2F18%2Ftop-of-the-pots-the-smashing-…>Pinterest<www.pinterest.com/pin/create/button/?description=Top%20of%20the%20pots%3A%20the%20smashing%20rise%20of%20ceramics&url=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2018%2Fapr%2F18%2Ftop-of-the…> Influence … Asymmetrical Reduced Black Piece, by Magadalene Odundo, incoming chancellor of the University for the Creative Arts. Composite: Crafts Council Collection/Ben Boswell Advertisement
The show combines influential antiques from China, Korea and Japan with the work of 20th and 21st-century potters. These range from Bernard Leach<www.leachpottery.com/history/>(whose famous pottery lives on in St Ives), Coper and his teacher Lucie Rie<www.theguardian.com/books/2012/may/25/lucie-rie-modernist-potter-emmanuel-cooper>(who both settled in Britain after fleeing the Nazis), through to Kenyan-bornMagdalene Odundo<magdaleneodundo.com/> (incoming chancellor of the University for the Creative Arts) and Edmund de Waal<www.theguardian.com/artanddesign/2011/dec/19/edmund-de-waal-passion-pots>, best known for his installations of shelves of pale and delicate porcelain vessels, sometimes huddled in conspiratorial groups.

It’s so rudely analogue … an antidote to the analytical, screen-based way most of us spend our lives
“There’s been a lot of chat,” says Ritchie of the strapline for the show: “British Studio Pottery. Where does it begin and when does it become art?” Some of the makers, she says, like to be known as potters while others prefer the term ceramic artist. “It’s partly a generational thing,” she says, mentioning Grayson Perry<www.theguardian.com/artanddesign/2017/may/27/grayson-perry-the-most-popular-art-exhibition-ever>, who also has a vase in the show and who came up through art school rather than a pottery studio. “More people now just prefer to be called an artist – and clay is their chosen medium. Whereas Bernard Leach, often known as the father of British studio pottery, is very much in the potter camp.”

Celebrating Abstraction – Colour Field Painting

Color Field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism<en.wikipedia.org/wiki/Modernism> and closely related to Abstract Expressionism<en.wikipedia.org/wiki/Abstract_Expressionism>, while many of its notable early proponents were among the pioneering Abstract Expressionists. Color Field is characterized primarily by large fields of flat, solid color<en.wikipedia.org/wiki/Color> spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process. In color field painting “color is freed from objective context and becomes the subject in itself.”[1]<en.wikipedia.org/wiki/Color_Field#cite_note-nga-1>
During the late 1950s and 1960s, Color field painters emerged in Great Britain, Canada, Washington, D.C. and the West Coast of the United States using formats of stripes, targets, simple geometric patterns and references to landscape imagery and to nature.[2]<en.wikipedia.org/wiki/Color_Field#cite_note-2>

St Barbe Open Exhibition – Coastal Gallery Prize

St Barbe Open Exhibition 2019
Exhibition Starts: March 23 – 10:00am Ends: June 2 – 4:00pm
SCROLL DOWN for submissions opening: Saturday 2 February 2019 Deadline for submissions: Sunday 24 February 2019
Notification of successful submissions published on website: Thursday 7 March 2019. In 2018 the St Barbe 19th Open made a very successful transition to the new gallery spaces and a new online entry method with the largest ever submission and just under a hundred works exhibited. The resulting exhibition was the best yet and we hope that this year’s exhibition will prove even more popular. Since it was established in 2000 the Open has become one the highlights of the local arts calendar, drawing artists from Hampshire, Dorset and beyond.
The exhibition is open to paintings, prints, drawings and three-dimensional works and is selected by a panel of professional artists and curators. A host of prizes and a chance to exhibit in the new galleries are drawing more and more entries. The stiff competition for selection means that the standard gets higher every year, providing a treat for our visitors and a chance to buy high quality affordable art. This is a selling exhibition.
This year’s prizes include:
• Specsavers, Lymington People’s Choice Award (£250)
• The Blake Morgan Award for best painting (£250)
• The Mary and John Symons Memorial Award for best print (£250)
• The Coastal Gallery Award for best contemporary abstract work (£100)
• The Ted Marsh Award for best work by an artist aged 18-21 (£100)
• The Beaulieu Fine Arts Award for best work by a non-professional artist (£50 of framing)

INSTANT MASH

Atom Gallery 127 Green Lanes London N16 9DA
2nd February to 23rd February 2019 Wednesday to Saturday | 11 am to 6 pm
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Atom Gallery<www.atomgallery.co.uk%29/> is proud to present “Instant Mash” a solo exhibition of new and recent work by Hackney-based pop-artist Carl Stimpson – a mash-up of Muses, Murals and Music
Carl Stimpson’s work mixes carefully painted portraits of icons from the worlds of music and film with cartoon imagery and techniques, and classic but obscure advertising logos. So far, so pop-art, but where his work diverges is in his treatment of this classic material – his use of the ‘ligne-claire’ technique, the imposition and projection of his mash-ups onto suburban and urban walls as fictional murals, a slight twist in some of the lovingly painted portraits.
Having trained initially as a painter – he studied Fine Art at The Arts Institute of Bournemouth (now Arts University College Bournemouth) – the recent addition of screenprinting to his painting techniques has allowed Stimpson to introduce an element of mass-production to his work, producing beautifully varied editions where the flatness of a screenprinted black ink layer contrasts with the softer hand-painted elements.
Stimpson currently lives and works in Hackney.