For this exhibition, Jones has been a scripophilist, appropriating nineteenth and twentieth century stock certificates that traditionally symbolise monetary value through the pictorialisation of idealised manhood and physical strength. Inspired by the recent crash of the Euro and the US recession, Jones examined numerous company share certificates that had illustrated headers, such as those of the Harlem and New York Railroad or the Inland Steel Company, Pittsburgh. These certificates depict allegorical figures such as an Adonis-like man wearing a crown of leaves or a heroic manual labourer wielding an axe or sledgehammer, which
Established in 2009, MadeIn Company is an artists' collective founded by Shanghai-based artist, Xu Zhen (b.1977). Exploring notions of identity, authorship, ethics and commerce, MadeIn's practice embraces a wide range of formal and conceptual strategies. 9 March - 12 May 2012.
Mary Corse first emerged as part of the generation of 'Light and Space' artists working in southern California in the late 1960s. It was at this time that she first began making minimalist paintings using a radical technique mixing clear glass micro-beads mixed with pigment, which she has continued to develop over the past four decades. The tiny glass spheres act as a prism, refracting and reflecting light, depending on the position of the viewer and angle of light. At times the surface appears flat and even; by a slight shift in location, the formal geometry and painterly characteristics of the image shimmer into view with almost phosphorescent effect. The five new paintings, made in 2011 for 'Inside the White Cube', build upon this method, and have a glistening and ethereal quality that constantly vacillate as the viewer moves through the space.
Mitchell Squire's practice is founded on an exploration of how artefacts are projections of the body and how material culture becomes a lens through which to view society and history. Using a combination of found and salvaged objects his work creates a complexity of socio-political associations and personal narratives that underline particularly potent historic events and institutional practices that quietly and continually influence the American national dialogue.
Combining historical and biographical research with feminist theory, Carrie Hintz considers Osborne's vision of letter writing, her literary achievement, and her literary influences.
Physical negotiations with material and a bold relationship to colour are central to Julia Dault's artistic practice. Informed by, but not adhering to, Minimalism, Dault's richly textured paintings and sculptures suggest fantastical tendencies in their manipulated materiality. Combining surprise and discovery, her paintings are multi-layered illusions that play with our sense of depth by both removing and re-applying paint onto different surfaces.
In a letter to her mother 75 years ago, Dorothy L. Sayers offered a first glimpse of the novel that launched one of our most admired detectives, Lord Peter Wimsey. Here is the long-desired collection of intimate thoughts and ideas that shaped the early years of this remarkable writer. These letters paint a revealing portrait of one of the most fascinating women of our time.
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Through film, sculpture, drawing and painting, French artist Isabelle Cornaro re-evaluates objects by exploring the tensions between their aesthetic and cultural value and by questioning meaning through formal and conceptual modes of display.
Adept in her skilful engineering and practical manipulation of rudimentary materials, Kitty Kraus created a mesmerising installation of mirrored light boxes for 'Inside the White Cube'. Kraus' work draws upon aspects of minimalism, but further pushes the practice of economy, or purity, of form to the extent of negating or even obliterating the object altogether. In this installation, a series of rectilinear shaped boxes were constructed with sheets of mirrored glass, precariously balanced and adhered by sticky tape. In each box was a 100 watt light bulb, its cord snaking away in the darkness. There is a tension and vulnerability in the construction of this installation that is evident in much of Kraus' work. The perfunctory joint edges of the mirrors allowing multiple bands of refracted light to be cast at various angles around the space, produced a spectral line drawing in light on the surrounding walls. Upon entering the space, visitors were greeted with an enigmatic text: 'The reflection angle is a right angle, thus the light does not reach the lamp'.
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