LondonArtGirl

LondonArtGirl has moved to her own domain!

2007-03-14T14:33:00.000Z

Please come join us over at our new address:

www.londonartgirl.com

Same stuff...different place. See you there.

'Sugar' by Kent Christensen at Eleven Gallery

2007-03-08T16:50:00.000Z

Over the past year, I’ve walked by Eleven Gallery many times without ever stepping through the front door. Located in the outskirts of Chelsea, the modest space is unassuming from the outside and a little off the gallery-hopping path. However, once inside, I soon discovered that this is my type of gallery. Not too big or too pretentious, Eleven Gallery showcases contemporary and emerging artists without the requisite attitude and extortionate prices so common in today’s art market. Moreover, I really like the majority of the artists they represent – a major bonus in my book.

As a lifelong fan of Wayne Thiebaud’s appetising depictions of food and sweets, I was easily drawn into Kent Christensen’s world. When you walk into the gallery, you are instantly surrounded by delicious and tempting treats skilfully depicted on the 20 small to medium sized canvases. However, there is more here than meets the eye. The artist uses mundane objects such as candy and baked goods to put forth a discussion on numerous topics such as gluttony, the obesity epidemic, high-art versus low-art, and art historical references. What I like about this show is that it offers the viewer some choices in respect to how they want to interact with the artwork. On the superficial level, the decorative pictures evoke feelings of nostalgia, comfort, and cravings. One could be fully satisfied with the canvases if they wanted to leave their experience at this point. But if the viewer goes deeper and uses a critical and art historical eye, they can almost hear the artist speaking to them about the serious and more thoughtful issues at play in the works. Like most things, the more you put into these works, the more you take away from them. There are some stand out pieces in this show such as “Ribbon Candy in a Tall Glass Vase”, “Cupcake”, “Macaroons”, and “The Green Jell-o” – all at attainable and collectible prices.

Cleverly, the gallery has a bowl of candy in the front window. I wonder how many people dip into that on their way out? Check out Sugar at Eleven Gallery before time runs out. www.elevenfineart.com

Julian Opie at Alan Cristea Gallery

2006-11-06T15:19:00.000Z

Walking Dancing Dressing Smoking

Is it okay to like a piece of art simply because it is cool? I think so. However, I have many acquaintances that wouldn’t dare describe art as cool, let alone admit that it was a reason they liked the piece. I think it is important to talk about art historical references, technique, and provenance, but sometimes I am drawn to something simply because it is cool. Well, Julian Opie may be where these two schools of thought meet. Using modern methods to reinterpret classical subjects, Britain’s leading figure in computerized art may have found a way to satisfy art history snobs and casual viewers alike.

In his current exhibition ‘Walking Dancing Dressing Smoking’, Julian Opie uses classical motifs, such as portraits and nudes, and puts his own spin on them. With his minimalist style, Opie strips away the complexities of his subjects by representing objects and figures in their most basic form. It is not uncommon to see heads floating above bodies, heavily outlined figures, and a lack of three-dimensionality in his work. This show is no different. Interesting and engaging from beginning to end, mere description cannot do these pieces justice. The exhibition is on until mid-November so hurry down to Alan Cristea Gallery on Cork Street and check out a little slice of cool in central London.

Robert Polidori at Flowers East

2006-10-31T11:32:00.000Z

Let me start out by saying that Flowers East is one of my favorite gallery spaces in London. Set over two floors, the space is large and airy, with copious amounts of wall space to showcase the artwork. The staff is consistently friendly and helpful, which LAG always appreciates while gallery hopping. If you haven’t visited the space yet, I highly recommend that you swing by on your next outing to the east end. Now let’s get to the artwork.

Currently showing at Flowers East is an exhibition of Robert Polidori's photographs of the aftermath of Hurricane Katrina in New Orleans. What I first noticed in the large, richly colored photographs was the amazing light that Polidori is able to capture. The pictures are beautiful despite the devastation that they display. Devoid of any human figures, each work contributes to a larger narrative of loss and destruction. We see paint peeling off walls, refrigerators on their side, cars overturned, and personal belongings covered in dirt and mold. All completely destroyed. Polidori shows the viewer a ghost town comprised of loss and ruin. We are left with traces of a life that no longer exists as it once did before the hurricane.

Polidori's images are surreal. Is this due to the artist’s exquisite skill or the strong desire for the images not to be real? For me, I think it is a little bit of both. Check out Robert Polidari at Flowers East until 12 November 2006. www.flowerseast.com

Jonathan Wateridge at David Risley Gallery

2006-10-31T11:29:00.000Z

On a clear day you can see forever

I have been reading a lot about this particular exhibition over the past couple of weeks. Words like ‘amazing’, ‘fabulous’, and ‘breath-taking’ were being thrown around in regards to Jonathan Wateridge’s first solo show. Looking at the images on the web, I have to admit that I was intrigued by the disaster theme. So last Friday, I bundled up and made my way to the home of contemporary art in London…the east end.

David Risley Gallery is tucked away on Vyner Street with a front door that even I had to duck to get through. Once inside the gallery, I completely understood what everyone was talking about. Each of the large four works is hung on its own wall, preventing any distractions to the viewer. Set against unspecific, yet extremely intense landscapes, each work depicts shipwrecks and airplane crashes. The artist does not provide any clues as to what happened in each scene. The machines are not of the modern age and the backgrounds are generic. The truly noteworthy aspect to these disaster scenes is in the artist’s construction. The works are done in oil on large sheets of perspex (acrylic glass) that is built up over ten layers. The result is a three dimensional image that is reminiscent of a stage set, providing a very dramatic and theatrical feeling.

The show is already sold out but that doesn’t mean that you can’t go down to the gallery and enjoy the view. Take my word: these are definitely worth the trip. Check out Jonathan Wateridge’s work at the David Risley Gallery until 19 November 2006.

Royal College of Art Painting Department Interim Show 2006

2006-10-25T17:23:00.000+01:00

Today has been all about surprises for LondonArtGirl. It started off when I was surfing the web and found out that the Royal College of Art was having a student interim show. Now, if you are a loyal reader of LAG then you know how much I love student shows. They are the perfect opportunity to gauge future talent and formulate your own opinion before the critics and tastemakers have their say. The last couple of student shows I have visited were okay, but generally I wasn’t bowled over. However, this show was different. The quality of the work was consistently higher and there was simply more of it.

Now here comes the bad part. Perhaps indicative of the current contemporary art market, the prices were rather…ahem… steep for a student show. Once upon a time, these shows were a great place for novice collectors to get their feet wet in the art market and for savvy collectors to get some great deals. Sadly, it appears these days are gone. More importantly, however, the talent is still here. Here are some of the works that caught my eye.

The first work I saw in the front room was a large canvas titled “Take Me Madonna” by Simon Collins. You need to take your time with this one because there is a lot going on here. The work is expertly rendered in a realist style – although I don’t know how likely you are to see this scene in reality. On the left side of the canvas, there is a bare-breasted woman seated with her legs partially open and her head arbitrarily cropped out of the composition. In the background there is a woman gazing warmly at something or someone that is not clear to the viewer. To the right is a masked man kneeling over a nun wearing only her habit and clutching a rosary. Both the nun and the masked man are staring out at the viewer as if to dare them to look at the provocative and sexually charged image. There is no shame in their eyes, only intensity. Perhaps that is what makes this work so engaging. Moving on…

What first caught my eye in Ryan Mosley’s “Understanding the Quarry” was his fluid use of brushstrokes and the earth tone palette. The triangular composition shows 6 figures donning dunce caps in the foreground watching a human pyramid assembled in front of them. The figures facing the viewer are expressive rather than realistic, with some facial features defined more than others. I would love to know the story behind the subject in order to truly understand the work. Fortunately I was still able to appreciate it, if only a purely aesthetic level. And finally…

Further back in the exhibit is a large canvas by Hannah Poulson titled “The Clearing”. The artist leaves much of the canvas's foreground exposed, including the trunks of the trees. From a distance, women appear to be randomly scattered and obscured by the forest. It is only on closer examination that the figures look like models straight out of a runway show. Wearing fashionable clothes and donning a forward-looking gaze, they look like they could walk right off the canvas and into a fashion catalogue. I love the way the artist chooses a simple representation of the forest to contrast the highly detailed depiction of the figures.

Regardless of your budget, hurry up and scoot down to the Royal College of Art to check out the artists of the future before the show closes!

David Hockney Portraits at the National Portrait Gallery

2006-10-24T14:21:00.000+01:00

Ah, autumn in London. The days get shorter and wetter. Having started to become depressed by the changing seasons and the inability to do anything outdoors, I headed over to the National Portrait Gallery to catch the “David Hockney Portraits” exhibition. I figured with his bright colors and Los Angeles influence, this was exactly what I needed to lift my spirits out of the seasonal doldrums. While I was expecting swimming pools and palm trees, much to my (pleasant) surprise, I found something so much deeper and intimate.

This is the first retrospective of Hockney’s work devoted solely to portraiture. The artwork was selected in collaboration with the artist, and features works executed in all media throughout his career. The show explores the artist’s relationships with friends, family, and people he admires. His deep understanding of the human condition and insight into his subjects’ lives is translated expertly onto the canvas. In some works, the viewer feels as if they are witnessing or even intruding on a private moment. This is especially evident in the many drawings of his closest friends and family. Even as his style evolves and he begins to experiment with new media such as photocollage, this theme remains constant throughout the exhibition. Ultimately, this collection offers an intimate access into the artist’s life through his works. There are too many noteworthy pieces to discuss, however, be sure to keep a look out for “Mr. and Mrs. Clark and Percy” and a small drawing of a fictional meeting between Hockney and Picasso entitled “Artist and Model”.

Even if a show dedicated to portraiture doesn’t sound like you cup of tea, escape from the rain and head over to the NPG – this is not to be missed. Check out “David Hockney Portraits” at the National Portrait Gallery until 21 January 2007.

USA Today at the Royal Academy of Arts

2006-10-23T18:22:00.001+01:00

If you are familiar with the London art world then you know super-collector and market maker Charles Saatchi. In 1998, his enthusiasm for the Young British Artists culminated in the much talked about and somewhat controversial show "Sensation". Currently, Mr. Saatchi is taking a similar interest in 40 young emerging artists and is showing their works at the Royal Academy of Arts. The exhibit, "USA Today", sets out to represent the current state of art making in the United States. The 80 works on display address social and political themes that are relevant not only in America, but also globally.

Even though the exhibition is spread out over two floors, I found the most interesting and noteworthy pieces to be located on the ground floor. On the left as you walk in, there are two large maps of America by French born artist Jules de Balincourt. Initially I was drawn to the works because of the bold color palette and the familiar shape of the American map. When I began to study the compositions more closely, it became clear that the artist was attempting to convey a larger message to the viewer. In "US World Studies II" & "US World Studies III", the artist uses naïve like depictions and bright colors to comment on social and political inequalities in America, as well as corporate greed. It is a thought provoking and engaging take on the domestic status of the superpower and how the rest of the world views the United States.

On the right of the staircase are two large landscape photographs by Florian Maier-Aichen. The artist uses strange angles, aerial views, and post-production enhancements to take images that seem familiar and comforting and manipulate them to appear foreign and anxiety laden. In "Untitled 2005", the serenity of a pristine beach and a long highway is shattered by the artificially red colored hillside on the right side of the photograph. What should be a serene image is transformed into a post-apocalyptic anxiety attack. Let’s just hope this is not Maier-Aichen’s view of the future of America. Regardless of the artist’s point of view, I found myself thinking about these works long after I left the exhibit – always a good sign in my book. Check out USA Today at the Royal Academy of Art until November 4th. www.royalacademy.org.uk

Joern Vanhoefen at Galerie Ramerapotheke

2006-10-16T22:28:00.000+01:00

With so many fairs this fall season comes so much artwork. After a while, you run the risk that everything will start to blend into each other. Same art just a different fair. At that point, the art really has to be special to stand out – for better or worse. Last week at Scope, I was cruising up and down the aisles in record speed because nothing gave me reason to stop. On my way out, I finally came across Galerie Ramerapotheke’s booth and saw a mesmerizing photograph by Joern Vanhoefen. Try saying that five times fast.

‘Spain 2003’ is a large-scale photograph showing a beached shipwreck at sunset. The rust laden vessel is completely out of place in this setting. With its close proximity to the shoreline and the absence of a tail end, the ghost-ship raises more questions than it gives answers. What catastrophic event led to the wreck? How is it still standing upright? How long has it been there? The ominous image is laced with anxiety and is just a little bit creepy. There is an apocalyptic feel to the scene that is heightened by the gentle sunset captured in the background. I am not certain of the artist’s intention, but I do know that I can’t take my eyes off of it. Check out Joern Vanhoefen at www.roemerapotheke.ch.

Paula Rego at the Marlborough Gallery

2006-10-16T16:46:00.000+01:00

Paula Rego is one of my favorite contemporary artists. Until last week, I have only seen her works at fairs or in museums. Her pictures are so powerful and provocative I couldn’t imagine what it would feel like to see so many of them in one place. After much anticipation of her current show at the Marlborough Gallery, I was not disappointed.

Paula Rego is a storyteller. Drawing inspiration from fairy tales and literature, her works have an illustrative quality to them. As a viewer, you feel like you are sneaking a peak at a particular moment in the narrative. Her most recent show consists of 12 large pastels (including three triptychs) along with some smaller lithographs. Moving from picture to picture in the gallery, it is easy to be overwhelmed and excited by so many compelling images in a relatively small space. Her use of pastels is the perfect match for her subjects. The works are rich, haunting, and ultimately unforgettable. Everything from the folds in the clothing to the contours of the facial features is dramatic. My favorites are The Cake Woman & The Old Republic. Make sure you go to The Marlborough Gallery to pick out your favorite before it is too late.

Art London: What Happened?

2006-10-11T12:08:00.000+01:00

Art London has always been one of my favorite fairs. Entering its 8th year, the fair features 70 galleries offering works by both new and established artists. The atmosphere is usually relaxed and convivial, allowing you to wander comfortably up and down the aisles. I have missed the past two Art London fairs for various reasons. When I walked in this year I was shocked. What happened to my favorite fair? Normally the event is held in June, but has now moved to its permanent October date. Sadly, this wasn’t the only change to the fair. I was at a loss to find more than two things that I even liked, let alone would want to buy. Maybe LondonArtGirl has a hangover from her amazing Berlin experience, but my companion that day assured me he was not thrilled with the offerings either. Anyway, the following post will be the only Art London related entry. I guess we will just have to wait for Frieze and Scope later this week.

Elisabeth Lecourt at Byard Art & Peter Clark at Rebecca Hossack Gallery

2006-10-11T12:05:00.000+01:00

My first pass through Art London was admittedly hurried. I was feeling under the weather and the last thing I wanted to do was look at art. I came back the next day in better form and really took my time looking around. I noticed two different galleries were carrying the same artist’s collage work. When I stopped at both booths, I quickly realized that they weren’t the same artist at all.

Elisabeth Lecourt and Peter Clark both manipulate paper in their artwork. Lecourt (above top) constructs her “map wear” pieces by pressing and ironing contemporary maps into the desired shape. In this case, the maps were made into children’s dresses and button down shirts. Make no mistake they are not collages, but rather an elaborate demonstration of paper control. A few booths down, Rebecca Hossack Gallery was showcasing many of Peter Clark’s animal collages (above bottom). The works were comprised of many different patterns, colors, and textures of paper. It is amazing how he uses paper to create the illusion of shading and definition. Despite their differences, both artists have created fun, charming, and modern works. Clark’s animals start around £2000 while work by Lecourt can be had for around £1300. Check out Peter Clark at www.r-h-g.co.uk and Elisabeth Lecourt at www.byardart.co.uk.

Art World Snobbery – Part 1

2006-10-10T14:14:00.000+01:00

Have you ever experienced snobbery in the art world? Felt inferior to a snooty 21 year-old gallery assistant simply because she doesn’t acknowledge you when you walk into the gallery? Made to feel like a pauper by a gallery director when you ask for a price on a piece of art? If you frequent galleries, it is more than likely that you can relate to one or more of these feelings. They can keep people from going into certain galleries or asking questions once they have mustered the courage to walk through the front door. This type of intimidation represents the side of the art world I despise. After many years of exposure to such pretensions, it doesn’t really affect me anymore. However, yesterday I was told about another form of snobbery that I needed to share.

Let me set the scene: Husband and wife walk into a gallery where they have bought at least 4 pieces from in as many years. They are dressed smartly and are clearly interested in a painting that will be shown in the gallery’s upcoming show. When they say they would like to purchase the work, the gallery owner starts to explain how he doesn’t know if he should sell the piece. He explains that when his other clients find out that he sold the painting before the show, without the right of first refusal, they would never buy from the gallery again. Fair enough, but why, the girl asks the owner, would you show me the preview of the exhibition if you didn’t have any intention of selling me the work? We have been to many shows where works have been sold before the opening night. We are clients of the gallery. We pay on time. We are serious collectors. And didn’t you just sell two works from the upcoming show at a recent art fair? The gallery owner backtracks and says that if someone wants to buy it, they cannot stop him or her. Husband and wife leave the gallery angry, irritated, and confused about the owner’s business acumen.

Now, in the defense of the gallery, it is common practice to set aside works for their serious collectors. However, LondonArtGirl believes that you should not publicly display the pieces if you haven’t contacted your clientele and given them the right of first refusal. It is basically saying that you can look at the works, but I don’t consider you important enough to buy them. You should not feel inadequate when you are trying to spend money.

The very next morning the wife sets off to the gallery armed only with her charm and a blank check. She walks into the small room and politely states that she and her husband would like to purchase the work if the gallery is comfortable with selling it before the show. The owner brusquely responds that he cannot stop someone from buying the work and begrudgingly agrees to the sale. The wife whips out her check and the owner is stunned. “You plan to pay now?” he says surprisingly. The wife hands over the filled in check and says that she doesn’t like leaving anything to chance. Thus eliminating any possibility of the owner selling the painting out from under her at a later date. After being informed that the piece must stay for the entirety of the show, the wife simply responds with a shrug and takes her receipt. As she walks towards the door, she turns around and says that she will see the owner at the opening next month. It takes all she has to suppress her smile.

The lesson here is not to be intimidated. If you want to go into a gallery, by all means walk through the front door and don’t pay attention to glares from the staff. If you want to know something about the work, simply ask. You are the client. And if you want to buy something, go after it and don’t be discouraged. After all, there is nothing worse than missed opportunities or the painting that got away.

October – The Great Fair Month

2006-10-10T12:21:00.000+01:00

LondonArtGirl has an extremely busy month ahead of her. With 4 major fairs in the next month alone, she will be running all around London scouting out the very best pieces so that she can bring them to you. Make sure you check back in the next few weeks for her reports! She promises to show you the good, the bad, and definitely the ugly.

Andrew Holmes at Plus One Gallery

2006-10-08T20:10:00.000+01:00

Ever have the experience where you hated something as a child and then you try it again as an adult and absolutely love it? Well, that is exactly how I felt the first time I walked into Plus One Gallery located just behind Sloane Square. The gallery specializes in realist art – a genre that has never particularly lit my candle. I must have walked by the space at least half a dozen times before I ever walked in and properly looked around. Consequently, it was during my first visit that I realized that I didn’t hate realist art, but in fact liked it enough to want to start collecting it. Which on that very day, I did. The gallery is now in my permanent rotation of London spots. They always have the most amazing shows with the highest quality of works available. Not to mention the owner’s dog is about the cutest thing in the world.

The gallery is currently exhibiting works by Andrew Holmes, one of Britain’s leading realist painters. Holmes uses colored pencils on paper to make his images of trucks and cars come to life. Looking at them, you would never imagine that they were drawn in pencil. In fact, you almost half expect them to drive right off the page. His attention to detail, use of light, reflection, and bright colors is mesmerizing. Trucks never looked so good in the skillful and masterful hands of Andrew Holmes. So the lesson here is to always be open-minded and revisit things that you haven’t liked in the past and give them another chance. You never know what one of life’s little pleasures you may have missed. Check out Andrew Holmes at www.plusonegallery.com.

Martin McMurray at Susanne Vielmetter - Art Forum Berlin

2006-10-08T17:30:00.000+01:00

The first time I walked by Susanne Vielmetter’s booth at Art Forum Berlin, they were installing a larger work that overshadowed most of the booth. I decided to swing back at the end of the show just to make sure that I didn’t miss anything. After all, this was one of the rare booths from America and I wanted to see what they had to offer. Good thing I did or I would have missed a series of works by San Francisco based artist Martin McMurray.

Set against a monotone background, each canvas depicts a political figure seated in a car along with a small flag indicating the origin of the passenger. There is a cartoon like quality to the works due to the proportions of car and driver, but at no time are the works silly. The canvases are accessible, aesthetically pleasing, and just plain fun! The gallery displayed the paintings (each at 30” x 40”) in a grouping of 16. They are magnificent to look at all together, but they are definitely strong enough to stand by themselves. The only hard part now is deciding which one to buy. Check out Martin McMurray at www.martinmcmurray.com or at his gallery www.vielmetter.com.

Britta Jonas at Diskus Berlin – Preview Berlin

2006-10-06T13:40:00.000+01:00

I don’t know what it is about folk art but I have always been drawn to it. It doesn’t matter if it is an antique or contemporary object; I find something very charming about this genre of art. This is why I was absolutely thrilled to come across Britta Jonas at the Diskus booth at Preview Berlin. Jonas’ work uses themes and subjects from folk art and turns them on their heads. You can recognize the shapes and subjects, but on closer examination they are not what they seem. The artist works in many mediums, but I was enchanted by this series of 16 small woodcut figures. In her work entitled Paare (Pairs), Jonas puts forth a narrative about a man and woman playing (unsuccessfully) with fire. The instillation reads like a macabre children’s book, allowing the viewer to use their imagination to construct the story behind the work. Good stuff. Paare (Pairs) is priced at Euro 2800. Check out Britta Jonas at www.diskus-berlin.com.

Jens Ullrich at Van Horn Gallery – Art Forum Berlin

2006-10-05T15:01:00.000+01:00

Let me start out by confessing that photography has never been my cup of 'collecting' tea. However, as I get older and have been exposed to more and more photographs, I am beginning to develop a taste and appreciation for the medium. Especially when the artist tweaks the conventional process and thinks outside the box, like Jens Ullrich’s Maskencollagen works.

Jens Ullrich was born in Tanzania and now lives and works in Germany. His black and white prints show today’s life in Africa with traditional tribal masks superimposed over the subject’s faces. The effect is disconcerting, a little bit creepy, and extremely compelling. I love the kinetic feeling of the subject’s bodies juxtaposed against the archaic and wooden nature of the masks. I am also intrigued by his use of traditional masks and the modern man. By donning his figures with masks that were customarily used in rituals and social rites, he is blurring the boundary between the modern and the ancient. Check out Jens Ullrich’s work at www.van-horn.net. For all you London dwellers, Ullrich will be part of the Level 2 Gallery Series at the Tate Modern from 16 December 2006- 11 February 2007.

Gang Zhao at Bleich-Rossi – Art Forum Berlin

2006-10-05T11:52:00.000+01:00

By the time I made it to the Bleich-Rossi booth, my blood sugar had dropped to dangerously low levels and my eyes were beginning to glaze over from looking at so much art. However, when I saw these works by Gang Zhao on the far wall, I immediately snapped back to attention. Usually when I think of Chinese art, images of Ming vases and Song Dynasty bowls come to mind. Today Chinese art commonly deals with themes of political, social, and economic changes in the country. I have been intrigued by the Contemporary Chinese art scene for a while now, but really haven’t seen anything that really got it right for me. Until now.

On display were two delicately designed and executed paper cut artworks by Gang Zhao. In these works, the compositions are reminiscent of propaganda posters and caricatures from another time. The forceful red color grabbed my attention, but the beauty and simplicity of the design drew me into the picture. I also found it thought provoking how the artist uses this delicate and fragile medium to depict social and political subjects that are so often the opposite in nature.

Like a good little LondonArtGirl, I did my research on the artist when I returned home. Even though they were not on display at the fair, I would be remiss not to mention Zhao’s oil paintings. Like his paper cuts, Zhao’s canvases are dominated by political subjects and themes. The painting included in this post is one of my favorites on the website. The three-person composition reads beautifully and the fragmented use of color effectively sets off and frames his figures. The work is accessible and easily appreciated even without knowing the historical context of the subject. With that said, I truly believe that understanding the intention and circumstance of a piece of art can only deepen your appreciation of it and enrich the viewing experience. Make sure you check out Gang Zhao at Bleich-Rossi at www.bleich-rossi.at. Not to be missed!

Berlin: Believe the Hype

2006-10-05T10:00:00.000+01:00

After a whirlwind 36 hours in Berlin earlier this week, I can honestly say that I have not been this excited about the art world in a very long time. It is true what they say about Germany – this is where it is all happening right now. I had never been to Berlin before, but like most art market watchers, I have been reading about its quality and abundance of contemporary art for some years now. In my brief time there, I was not disappointed. I originally planned on attending Art Forum Berlin and working my way through the many galleries the city has to offer. After arriving, I realized that like many other large fairs, Art Forum Berlin had attracted a couple of smaller, emerging artist fairs. My favorite! So I skipped most of the galleries – most were closed anyway due to the fairs – and headed off to Art Forum Berlin, Berliner Liste 2006 and Preview Berlin: The Emerging Art Fair. The following posts are highlights (there are many of them) of the three fairs. Enjoy!

LondonArtGirl has hit the road!

2006-10-04T10:24:00.000+01:00

Apologies for no new posts this week but LondonArtGirl has been busy traveling to find new and exciting artwork for you. Check back in at the end of the week for a recap of her recent trips to Barcelona and Berlin. Great stuff to come!!

Simon Casson at Long & Ryle Gallery

2006-09-28T12:17:00.000+01:00

I first discovered Long & Ryle Gallery when I lived near Tate Britain back when it was just the plain old Tate. Is it just me, or does anyone else miss the old Tate? Anyway, the gallery occupies just one room with, what I can only assume, is a very large storage room downstairs. The first time I went in with my husband, they were exhibiting works by a Spanish painter called Ramiro Fernandez Saus. We bought a large oil painting and three small watercolors in about 15 minutes. I have been a huge fan of the gallery ever since. From 6 October to 11 November, Long & Ryle will be exhibiting works by Simon Casson. His paintings offer a contemporary twist on the staid western tradition of art. I love the way he deconstructs his formal images by swiping paint through them and disrupting the order of the canvas. Done solely in oil, this technique has a collage-like influence on the canvas. His drawing skills are masterful and his imagination is brilliant. I am really attracted to the combination of the old and new. With successful exhibits throughout North America and Europe to his credit, Casson is one to watch. Not sure at the starting price point, but the work I saw recently was £9,000. Check it out at www.longandryle.com.

Richard Sweeney -- Paper Sculpture

2006-09-27T15:11:00.000+01:00

Wandering around the Business Design Centre the other day, I came across these amazing paper sculptures by Richard Sweeney. He creates the works by cutting and folding the paper into his desired vision. From a distance they appear to be made out of stone or even porcelain. However, on closer examination, the objects are constructed solely out of paper. Whether hanging from the ceiling or resting on a coffee table, these pieces would look fabulous in any collector’s home. The pictures don’t do the works justice, but check out the artist’s website anyway at www.richardsweeney.co.uk.

Eri Itoi at Braveart 06 -- East London

2006-09-26T16:13:00.001+01:00

I love going to student art shows. Admittedly, it is always in the back of my mind that I could discover the next big thing and have a great story in twenty years about how I bought this work by so-and-so for £30 and now it is worth £100,000. But it really isn’t about all that – at least not for me. Mainly I enjoy these shows so much because it is the best way to stay current with the next generation of artists. I like that their work has not necessarily had any major exposure to the art market (i.e. gallery and museum shows and auctions). I am free to formulate my own thoughts without having any pressure of an impressive resume looming in the back of my mind. It allows the experience to be about the viewer and the artwork without the interferance of anyone else's opinions. This is a great exercise in developing a collector’s eye, as well as trusting your own instincts.

Last weekend I went to the Braveart 06 student show at the Atlantis Gallery in East London. The show was made up of recent graduates from Scotland’s four main art colleges. 20 students were represented at the annual event and the works included painting, sculpture, video, and instillation. My favorite artist by far was Eri Itoi from the Edinburgh College of Art. Her works easily could have been overlooked due to their diminutive size but not for any lack of beauty or skill. These delicate and intricate portraits depict young women often times with moody and extremely emotive faces. They are standing alone without a background or context to place them in. The pencil drawings are done on eggshell colored paper no larger than 4 x 6 inches and were selling for £550 each. They are truly intriguing.

At these shows, or any gallery show for that matter, I always come home and research any artists that I liked on my outings. It is usually a dead end with student shows but it doesn’t stop me from trying. Eri Itoi was first (and only) on my list for that day and I was happily surprised to find that she is currently having her first solo exhibit here in London at the David Risley Gallery. I am certain I would have liked her work just as much if I saw her beautiful drawings in the gallery context, but for my sake, I am happy that I experienced her work at the student show. Check out Eri Itoi at www.davidrisleygallery.com.

Smudge Gallery - East London

2006-09-25T14:56:00.000+01:00

On my way to another student show last weekend, I was sidetracked by a small gallery just outside Spitalfields Market in East London. One step above a hole in the wall, Smudge Gallery couldn’t be more than 1000 square feet spread over two levels with one extremely steep staircase. We’re not talking Bond Street here, but rather London’s trendy east end, home of the local contemporary art scene. The gallery specializes in mounted photo art and posters provided by their own group of photographers. The images are young, edgy, and definitely geared towards pop culture favorites. Images of graffiti (including those done by London based graffiti artist Banksy), neon signs, and cars dominate the photographs covering the walls. The result is artwork that is accessible to the smallest of budgets and newest of collectors. For example, the prints come in many different sizes and the prices range from as low as £30 to a whopping £80. Depending on your mood, the images can be printed on wood blocks, aluminum, and canvas.

I have been collecting art for over ten years and do not consider myself a snob when it comes to my own collection. If I love the work and can’t live without it, it doesn’t make a difference if the gallery or artist is famous or a virtual unknown. While I thought about buying a few of the photos at Smudge, I couldn’t help but speculate: what would stop me from doing this myself? After all, there was a store across the street that mounted photos on poster board and canvas for you while you waited! While I normally hate this line of “why should I pay for that when my four year old does the same thing in kindergarten" conversation, I actually (shamefully) caught myself feeling like that. I am not an artist, but I have some amazing photographs from my honeymoon in Africa. Why not pick out four or so and have them mounted across the street? Would I like the work as much if it wasn't bought at a gallery? Would they feel more special and unique hanging on my wall if there weren't so many exact copies in existence? Would I feel the same if the process wasn't so transparent?

I ended up not buying any of the photos that day. Not because I thought I could do it better myself, but more because I couldn't decide which works to buy. In a perfect world, you buy a piece of art because you are drawn to it, appreciate it, and want to surround yourself with it everyday. Not solely because you couldn’t paint it, sculpt it, or photograph it yourself. It is in this case that I listen to my inner voice and realize that if I don't love anything enough to live without it, I am not going to buy it. No matter how affordable it is. Besides, if I find myself still thinking about any of the works, I can rest assured that the piece (or one of hundreds of mounted copies) would still be there in the future. Check out the Smudge Gallery at www.spitalfieldsartmarket.co.uk.