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.
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.
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
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.
German-born and France-based artist, Anselm Kiefer, presents 'il mistero delle cattedrali', a 11,000 square foot installation at the White Cube Bermondsey Gallery in London. The exhibition includes works from various times within the artist's four decades as a creative force and explores the idea of alchemy. The show is given the name 'il mistero delle cattedrali' due to the closely linked subject matter with that of a book in the 1920's by a French alchemist and esoteric author under the pseudonym Fulcanelli by the same title.
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.
The Clock' is constructed out of moments in cinema when time is expressed or when a character interacts with a clock, watch or just a particular time of day. Marclay has excerpted thousands of these fragments and edited them so that they flow in real time. While 'The Clock' examines how time, plot and duration are depicted in cinema, the video is also a working timepiece that is synchronised to the local time zone. At any moment, the viewer can look at the work and use it to tell the time. Yet the audience watching 'The Clock' experiences a vast range of narratives, settings and moods within the space of a few minutes, making time unravel in countless directions at once. Even while 'The Clock' tells the time, it ruptures any sense of chronological coherence.
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.
White Cube is pleased to present 'Adjective Machine Gun', an exhibition and ongoing performance by London based artist Eddie Peake. To date, Eddie Peake has established a multi-faceted and energetic practice that manifests itself through a wide variety of media including photography, painting, neon sculpture and performance. Exploring the realms of voyeurism, sexuality and gender, Peake is a bold interventionist, attracting his audience's attention by adopting a variety of cultural references, pop motifs, anarchic humour and spectacle. - White Cube web page.
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