A new contemporary art gallery is coming to Mayfair in September 2014. Ben Tufnell and Matt Watkins, the former directors of Haunch of Venison, have partnered with Nicholas Rhodes, the director of the London gallery Master Piper, in the creation of Parafin, which will feature works by contemporary artists such as Nancy Holt, Katie Paterson, and Uwe Witter. (more…)
José Parlá, Broken Language (installation view) via Haunch of Venison
Haunch of Venison presents “Broken Language,” itsx first solo exhibition of work by New York-based artist José Parlá. Born in Miami to Cuban parents, Parlá’s works highlight the layered stories embedded in urban environments. His practice of combining of personal text, found objects and graffiti styles into large paintings and site-specific installations results in expressive works that relate to the legacies of calligraphy, modernism and abstract expressionism. The works on view include a selection of new paintings, works on paper, photographs, and sculpture spread throughout the gallery’s three spaces.
The Christie’s-owned Haunch of Venison Gallery has announced that it will close both its Chelsea and London galleries, and will focus exclusively on the secondary market. While Christie’s owner Francois Pinault has not commented, some speculate that the galleries were never intended to be permanent in the first place. (more…)
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Lucio Fontana, Concetto Spaziale, Attese (1968). All images via Haunch of Venison and the estates of the artists.
The Elena Geuna curated “Afro Burri Fontana” exhibition is on now at Haunch of Venison‘s Chelsea space, 550 W. 21 St, and focuses on Italian artists Afro, Alberto Burri, and Lucio Fontana. Showing five paintings by each artist, Haunch’s international director Emilio Steinberger explained that the gallery sought to create a balanced show that would make evident the original dialogue between the three post-WWII Italian abstract artists and their American contemporaries.
Katie Paterson, 100 Billion Suns (2011). Images courtesy of Haunch of Venison.
In July 2011, Katie Paterson blended science with art in the work 100 Billion Suns for the Venice Biennale—the photo documentation of which is now on view as the first exhibition in Haunch of Venison‘s new Fitzrovia gallery space in London. Paterson was the 2010–11 Artist in Residence at University College London’s Department of Physics and Astronomy, and at the Biennale, the artist placed confetti canons throughout the city and set them off at regular intervals in a gesture to reenact Gamma Ray Bursts—the brightest explosions in the universe. During the Haunch of Venison show, one confetti canon will explode at 1:00 pm each day, littering the floor with small fragments of paper color-matched to the Gamma Ray Bursts Paterson has documented. In addition to the canon and its Venetian archive, two other astronomy-related works are on view as well, The Dying Star Letters and Ancient Darkness TV.
Installation view. All images courtesy of Haunch of Venison, London.
Haunch of Venison’s newly renovated four-gallery space in London currently holds an exhibition showing ten of Britain’s more important painters of the post-war era: Michael Andrews, Frank Auerbach, Francis Bacon, Patrick Caulfield, William Coldstream, Lucian Freud, Richard Hamilton, David Hockney, Leon Kossoff and Euan Uglow. Exploring both personal and artistic relationships amongst the artists, over 40 paintings and drawings are on display, unveiling some works that have not been seen in public for years.
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Frank Stella, Red Scramble (1977). All images courtesy of Haunch of Venison.
Frank Stella: Connections is a mini-retrospective of Stella’s extensive career currently on display at the Haunch of Venison in London. Covering over 50 years of work characterized by dramatically changing styles, the exhibition could easily be mistaken for one of multiple artists on display.
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Performance view. All photos for Art Observed on site by Zachary Concepcion
Tuesday night, Haunch of Venison‘s new Chelsea gallery co-hosted a Kreëmart one-night-only performance with The American Patrons of Tate. Kreëmart is an artist collective that often collaborates with well known contemporary artists to produce performances and installations that use the medium of food, generally confectionery, to reposition one’s perspective and interaction with such sweets. Cake sculptures and banana ice cream (served by monkeys), along with two candy-obsessed women, kept visitors high on sugar whilst speculating the powdery white substance of Terence Koh‘s Untitled on the floor. The evening teamed up seven artists with pastry chefs to indulge the senses in art, all works interactive and made specifically for the 2011 show.
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All photos by Caroline Claisse for Art Observed.
In the newly renovated eighteenth-century London townhouse, which was its original home, Haunch of Venison opens a solo exhibition of Romanian painter Adrian Ghenie. According to Coline Mailliard of Artinfo, the gallery’s move from a museum-like venue near the Royal Academy to the refurbished space in Mayfair signals an attempt at a rebirth. Mailliard writes, “the move seems like a perfect opportunity for the gallery to reinvent itself — and also to prove to the art world, which has snubbed it since the sale to the auction house [Christie’s], that the artistic program is, more than ever, the top priority.”
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Wim Wenders, Open-Air Screen (2007), via Haunch of Venison
Currently on view at Haunch of Venison London are two solo exhibitions, Wim Wenders and Eve Sussman, artists who work in a variety of media and cannot be pigeon-holed as either photographers, filmmakers or video artists. On their own, these dueling solo exhibitions would be worth a visit but together they are enhanced in their coexistence. Wim Wenders, a German director known for such films as Paris Texas (1984), The Wings of Desire (1987), and Buena Vista Social Club (1999) shows a series of photographs depicting landscapes and cityscapes, for the most part completely devoid of human subjects, and Eve Sussman is showing her photographs alongside one of her video projects.
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Bill Viola, The Quintet of the Unseen, 2000 (production still) All photos: Kira Perov courtesy of Blain Southern
Currently on view in London is Bill Viola’s evocative installation, Quintet of the Unseen. As a founding practitioner in the field of New Media, Bill Viola is perhaps most famous for his large scale, multi-projection installations. The artist interests himself primarily with fundamental notions of lived human experience, often with the inclusion of religious subtexts and references to art history. Death, birth, rebirth, purification, and penitence are common themes.
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Atrial Flutter (2010) by Polly Morgan, via Haunch of Venison
Currently on view from today until September 25th, 2010 is an exhibition of works by Polly Morgan, a British artist known for her fascination with taxidermy. The exhibition is Morgan’s first solo show at Haunch of Venison in London. Morgan has been interested in animals since a young age; after college, she experimented with films and sculpting before she finally turned to taxidermy. Her animals are well-known because she often places them in unusual and unrealistic situations.
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Damien Hirst and Michael Joo, 2010 © Damien Hirst/Hirst Holdings Limited and Michael Joo 2010 via Other Criteria, photo by Johnny Shand Kydd.
On view at Haunch of Venison, Berlin, “Have You Ever Really Looked at the Sun?” is the first joint exhibition of Damien Hirst and Michael Joo, two artists whose often-controversial mediums (animals, a diamond-encrusted, platinum skull, urine) have offered convenient comparisons since the late 1980s. This exhibition displays both new and canonical works in a manner that allows the works’ conceptual interests to flourish, despite—and in conversation with—their formal similarities.
Michael Joo, Improved Rack (Elk #18), 2010, antler, stainless steel, 72 x 115 x 37 inches © Michael Joo, via Haunch of Venison
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L: Barbara Kruger, Untitled (He entered shop after shop…), 2008 R: Eric Fischl, Rebirth I: (The Last View of Camiliano Cien Fuegos), 1986. All images courtesy of Haunch of Venison, New York.
On view at Haunch of Venison New York, until May 1, 2010, is “Your History Is Not Our History.” Organized by artists David Salle and Richard Phillips, this group show presents works produced in 1980s New York City.
Including works by Donald Baechler, Jean-Michel Basquiat, Ross Bleckner, Francesco Clemente, Carroll Dunham, Eric Fischl, Robert Gober, Jeff Koons, Barbara Kruger,Louise Lawler, Sherrie Levine, Malcolm Morley, Richard Prince, David Salle, Julian Schnabel, Cindy Sherman, Laurie Simmons, Jenny Holzer, Phillip Taaffe, Terry Winters and Christopher Wool, this exhibition seeks to convey “a more accurate portrayal of the energy and experimentation that was permeating the city during that time,” says Phillips.
L: Christopher Wool, Untitled, 1988 C: Jeff Koons, Buster Keaton, 1988 R: Eric Fischl, The Old Man’s Boat & The Old Man’s Dog, 1981.
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Installation view of Castellani/Flavin/Judd/Uecker via Haunch of Venison
Currently on view at Haunch of Venison in London is an exhibition that explores the connections between four seminal artists; Enrico Castellani, Dan Flavin, Donald Judd, and Günther Uecker. The exhibition includes works from 1964 to today from these four artists who were born within six years of each other and shared aesthetic objects while working on different sides of the Atlantic.
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Installation view of Castellani/Flavin/Judd/Uecker via Haunch of Venison
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“Still Life Negative after Mignon” by Wittwer via Uwe Wittwer
A new body of work and the first solo show titled “Raised Hide” of the Swiss artist Uwe Wittwer is currently on view at Haunch of Venison in London, UK. The show is comprised of a series of works on paper, in watercolor and inkjet, which represent Wittwer’s continued inquiry into authenticity of images and the truth of perspective. All of Wittwer’s prints and paintings are sources and are downloaded from the internet before undergoing a perceptual and physical transformation. In the tradition of Gerhard Richter and Luc Tuymans, Wittwer adapts and reclaims photographic and digital images as his own translations of artistic vision. He explores the role of artist as a voyeur and image generation and his visions are available to the public until October 3rd, 2009.
Related Links:
Uwe Wittwer: Raised Hide, Haunch of Venison, London [Financial Times]
Uwe Wittwer [Haunch of Venison]
Catastrophes in Sepia: On Uwe Wittwer’s Recent Watercolors [Exhibition Catalog]
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Still from Bill Viola’s ‘Transfigurations’ via Haunch of Venison
Haunch of Venison is now showing video artist Bill Viola’s first solo exhibition in Berlin in six years. The show runs in conjunction with the 59th Berlin International Film Festival, Berlinale. Two of Viola’s early films, ‘Hatsu-Yume (First Dream)’ and ‘The Passing’ will be screened in the gallery’s main space as part of the Berlinale in the beginning of February. The exhibition ‘Installations’ on view now presents a number of video and sound installations, including ‘The Messenger,’ first commissioned for London’s Durham Cathedral in 1996, and new works from the “Transfigurations’ series, the first of which, ‘Ocean Without a Shore,’ was created for the 2007 Venice Biennale.
Bill Viola at Haunch of Venison
Artist’s Page
Viola’s Video Altarpieces to Grace St. Paul’s [Bloomberg]
Nightclubbers Meet Collectors at Berlin Warehouses’ Art Parties [Bloomberg]
Legal Drama [Frieze]
Richard Serra via TigerofSweden
With his show on at Gagosian London, [AO] a lookback at the soon-to-be-70 iconoclast Richard Serra [Guardian UK]
New York gallery sues Ex-Enron official Jeff Shankman regarding his attempted extortion of six figure sums lest he “go public” that works sold to him were fake [Bloomberg]
Irish group begins futures market trading based on famous Mei-Moss art price index [Financial Times]
Controversially Christie’s-owned Haunch of Venison gallery moving to landmark, Victorian, David Chipperfield-renovated building owned by the Royal Academy [ArtInfo]
Arab and Iranian art on the rise, the sales of which grew from £1 million in 2006 to £17 million (thus far) in 2008 with 260% price increases in that time [TelegraphUK]
In related, Sotheby’s announces intentions to open branch in Doha, Qatar [ArtDaily]
Vawdavitch, Franz Kline (1955) via Artinfo
Next Friday, September 12, the new Haunch of Venison gallery in New York City will open its doors for the first time with an exhibit called “Abstract Expressionism – A World Elsewhere”. The exhibition will feature over 60 works from Franz Kline, Willem de Kooning, Lee Krasner, Barnett Newman, Jackson Pollock, Mark Rothko, Aaron Siskind, David Smith and Clyfford Still. The Christie’s owned gallery represents notable artists such as Bill Viola, Keith Tyson, and Wim Wenders and has additional locations in London and Zurich. When the gallery was purchased last year by François Pinault, the owner of Christie’s auction house, there was a substantial amount of controversy surrounding the transaction. The purchase of the gallery presented a new take on the relationship between auction houses and galleries, and how the line might blur between the primary and secondary markets of the art world.
Christie’s auction house buys London’s Haunch of Venison contemporary art gallery [IHT]
Haunch of Venison’s New York Moment [The Imagist]
American Perspective [Artinfo]
Auction Houses Vs. Dealers [NYSun]
Haunch of Venison – “Abstract Expressionism—A World Elsewhere” [Haunch of Venison]
Starry Night, Vincent Van Gogh (1889) via Artdaily
Van Gogh’s Cypresses and The Starry Night exhibited now at Yale [artdaily]
Haunch of Venison, a Christie’s-owned-gallery, causes some rebuke in the system [NY Mag]
Update: The Sun Reviews Byrne ‘playing the building’ and Burden at Rockefeller Center [NYSun]
A Summer gallery line-up for Paris [Bloomberg]
Time lapse video from Cans Street Art Festival in London, covered by AO here [Wooster Collective via WorldsBestEver]
Sotheby’s selling (post-cubism) Italian Futurism as the next big trend? [Economist]
