Tim Marlow (born 1962) is a British writer, broadcaster and art historian. He is Artistic Director of The Royal Academy of Arts in London. Previously Director of Exhibitions at White Cube for over 10yrs. He is an award-winning broadcaster who has lectured on art and culture in over 40 countries. He has written and presented over…
Tag: White Cube
Michael Andrew Law遇上英國超級畫廊白立方White Cube的老闆Jay Jopling
遇上英國超級畫廊白立方 @whitecube 的老闆Jay Jopling
Law Cheuk Yui & Sarah Morris
Sarah Morris B. 1967, SEVENOAKS, U.K. Born in 1967 in Sevenoaks, U.K., Sarah Morris grew up in Providence, Rhode Island. She received a BA from Brown University, Providence (1989), and then participated in the Whitney Museum Independent Study Program, New York (1989–90). She is celebrated for her geometric abstract paintings, which explore the interplay between…
Michael Andrew Law Meets Antony Gormley
Michael Andrew Law Meets Antony Gormley Antony Gormley is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in…
Michael Andrew Law meets with Painter Magnus Plessen
Magnus Plessen is best known for a painting style that combines additive and subtractive techniques, employing both brush and spatula. The impetus of each work often begins with a photograph, which Plessen categorically believes imprisons its subject in time and space. His aim in revisiting these images is to resuscitate the subjects, and therefore make what he calls “completely unsentimental” paintings—“Perhaps an image that leaves the viewer—and also the art object and its creator—much freer,” as he says. Plessen is also known for his signature blocky forms and the blending of figures and background, as well as the use of vivid colors. In more recent works, he has been exploring ideas of rotation and revolution, and employing a central axis point in his compositions.
Michael Andrew Law meet with Christian Marclay 克里斯蒂安·馬克雷
Christian Ernest Marclay (born January 11, 1955) is a visual artist and composer. He holds both American and Swiss nationality. Marclay’s work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek,…
MICHAEL ANDREW LAW FINALLY MEETS MURAKAMI TAKASHI 村上 隆
Takashi Murakami (村上 隆 Murakami Takashi?, born February 1, 1962) is a Japanese contemporary artist. He works in fine arts media (such as painting and sculpture) as well as commercial media (such as fashion, merchandise, and animation) and is known for blurring the line between high and low arts. He coined the term superflat, which…
Michael Andrew Law meets with Theaster Gates
Theaster Gates (born August 28, 1973) is an American social practice installation artist. He was born in Chicago, Illinois, where he still lives and works. Gates’ work has been shown at major museums and galleries internationally and deals with issues of urban planning, religious space, and craft. He is committed to the revitalization of poor…
Michael Andrew Law meets with Michael Armitage
Michael Armitage (b. 1984) is a Kenyan born artist currently living between Nairobi and London. The artist’s predominant concerns are the social and political issues facing our contemporary global society. By weaving multiple narratives, drawn from the media and his native country’s mythologies, Armitage strives to emphasise the universal social problems that many choose to deny. He has a firm belief that art is an agent of social change and through his captivating figurative style, he compels the viewer to take a deeper look at the content his art addresses. Armitage questions the supposed passivity of watching news media: a spectator is already complicit and should ponder their own responsibility towards the reported events.
In his paintings, Armitage intertwines narratives drawn from his memories, and discourses from both Western and East African vantage points. Such approach allows him to raise the discussion of the impact of oppressive narratives from the perspective of either region.
Armitage combines his artistic training in London, (BA from Slade School of Art in 2007, MA Royal Academy, London 2010) with traditional East African hues, materials and techniques. He paints on lubugo bark cloth, a fabric resulting from a laborious process of beating the bark for several days, and eventually stretching it. The entire process leaves the material taut and often with holes and coarse depressions. The atypical surface of the cloth manipulates the manner in which the oil paint is applied and dries, ultimately adding to Armitage’s distinctive amorphous shapes. The Ugandan material is ridden with social and political meaning. It was traditionally used as a burial garment but has contemporarily been commoditised, being sold in East African markets as adapted placemats, baskets and other touristic knickknacks.
b. 1984 in Nairobi (Kenya); lives and works in London (United Kingdom)
Michael Armitage’s paintings draw on the subject matter of Kenya, his country of birth. Painting with oil paint onto lubugo, a traditional bark cloth from Uganda, Armitage applies the oil paint in layers, in a process of scraping back, revising and repainting. Producing a broad range of images inspired by news media, East African legends, internet gossip and his own memory. Recent exhibitions include White Cube Bermondsey, and The South London Gallery, both in London.
Michael Armitage paints lyrically figurative landscapes whose starting point is the often hard realities of his native Kenya – the political system, the social inequalities and the violence. He works with successive layers of oil paint on lubugo, a traditional Ugandan bark cloth, in a process of scraping back, revising and repainting that produces a broad range of images inspired by the media, East African legends, the Internet and his own memory. His choice of pastel colours and his dreamlike interpretation of photographic images, his conscious references to an art history with roots in the “Western” modernity of Gauguin, make his works seem like a reworking of great historical painting, but tinged with irony and fantasy.
In partnership with the British Council and the White Cube Gallery, London