STINT is an exhibition of works by Phyllida Barlow, one of the most influential sculptors working in Britain today. STINT is a major new commission for the Mead Gallery and features a series of new sculptures which revisit familiar ideas and themes in Barlow's work. Her work incorporates an enormous range of mass produced materials including cardboard, fabric, paper, glue, paint, plastic, wood, rubber, hardboard, and adhesive tape. Barlow's work questions the nature and role of the sculptural object in contemporary culture, utilising an extensive, fluid vocabulary and immense enthusiasm for engaging with the physical 'stuff' of the world. She creates new relationships, experimenting with unexpected combinations of materials creating objects and environments, which encourage us to see the everyday world with fresh eyes. This beautifully designed large-format catalogue contains numerous exhibition installation views, mini insert images of the new works, and an extensive interview with the artist. Published on the occasion of the exhibition Phyllida Barlow: STINT at Mead Gallery, Warwick Arts Centre, October - December 2008.
Phyllida Barlow: folly presents the British Council's new commission created by Phyllida Barlow for the British Pavillion at the 57th Venice Biennale. Best known for her colossal sculptural projects, for over 5 decades Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, rubber, cement, fabric and paint. Barlow creates striking sculptures and bold and expansive installations that confront the relationship between objects and the space that surrounds them. Drawing on memories of familiar objects from her surroundings, Barlow's practice is grounded in an anti-monumental tradition characterised by her physical experience of handling materials in an expedient and direct way.
The sculptors Nairy Baghramian and Phyllida Barlow are shown together for the first time at the Serpentine Gallery, in an exhibition exploring two positions on sculpture in the 21st century. The exhibition offers a new perspective on these two artists, who, though strikingly different in their approach, each examine questions related to the context in which their works are shown, while addressing the art-historical debate on the politics of form. Nairy Baghramian is a Berlin-based artist known for her sculptural installations and photographs. Her complex work encompasses questions of context, institutional framing and the production and reception of contemporary art. Key to Baghramian's work is how theoretical concepts, drawn from art historical debates around Minimalism, literature and design history, are translated into specific decisions about materiality, manufacture and display. Phyllida Barlow is a pioneering English artist. Her sculptural installations are characterised by their large scale, often made quickly in the same place that they are to be shown and with materials that are subsequently recycled for future use. Their rough appearance conveys the urgency with which they are produced. Published on the occasion of the exhibition at Serpentine Gallery, London, 8 May - 13 June 2010.
From around 1864 until 1971 the Impasse Ronsin in Paris was home to a warren of studios used by wide variety of artists. This curious cul-de-sac hidden away in Montparnasse served as home and atelier to some 220 artists, from academic sculptor Alfred Boucher to Argentine performance artist Marta Minujin. If Constantin Brancusi was its most famous resident, its most infamous was Madame Steinheil, mistress and maybe murderer of the French President whose artist-husband also met a brutal end, turning the Impasse Ronsin into one of the most notorious crime scenes of the early 20th century.
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