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Guy Moreton, KS02, The Wilderness, Langdale, 2012. Museum framed C-print, 78 x 102 cm. Courtesy: the artist
Recent Acquisitions 26 Apr 2017 By Christine Takengny

Two large-scale photographic works by Guy Moreton acquired for Tullie House Museum, Carlisle

The large-scale photographic works explore the Lake District landscapes that shaped German artist Kurt Schwitter’s final artistic practice, his fourth ‘Merzbau’.

Theo Eshetu, Atlas Fractured 2017, digital video, installation view, Athens Conservatoire (Odeion), documenta 14, photo: Theo Eshetu
Friday Dispatch 21 Apr 2017 By Ali MacGilp

documenta 14: Learning from Athens

The heady scent of orange blossom pervades the city of Athens in April: a beautiful and unexpected accompaniment to the opening of this year’s documenta exhibition.

Martine Syms at Camden Arts Centre ® Hydar Dewachi
CAS News 20 Apr 2017 By Marcus Crofton

Major work by LA-based artist Martine Syms to be gifted to Leeds Art Gallery through VNXXCAS scheme

The initiative aims to provoke an examination of collecting practice and act as a focal point for debate on gender imbalance in museum collections.

Isabella Martin, North Sea Semaphore, 2017. Commissioned by Film and Video Umbrella. FVU is supported by Arts Council England.
Friday Dispatch 7 Apr 2017 By Caroline Douglas

Somewhere Becoming Sea at Humber Street Gallery, Hull

The installation is crisp and precise, the messaging acute but not hectoring. Hull could gain a great deal from maintaining a space for contemporary art of this calibre.

Installation view – Patrick Hough, And If In A Thousand Years, 2017. Commissioned for Jerwood/FVU Awards 2017: Neither One Thing or Another, supported by Jerwood Charitable Foundation and Film and Video Umbrella. Image: Anna Arca.
Friday Dispatch 31 Mar 2017 By Ali MacGilp

Jerwood/FVU Awards 2017: Neither One Thing or Another

Lawrence Lek and Patrick Hough were this year’s award winners, both responding to the curatorial theme by using pioneering technology to examine a blurring of the line between the real and the artificial.

Richard Long, Full Moon Circle, 2004. Courtesy of Houghton Hall
CAS Recommends 30 Mar 2017 By Marcus Crofton

April 2017

Lord Cholmondeley is following up his sensational James Turrell show at Houghton Hall in 2015 with a major solo exhibition by Richard Long, the artist’s largest since his retrospective at Tate in 2009.

Martine Syms, still from Notes on Gesture, 2015
Artist to Watch By Christine Takengny

Martine Syms

Her appropriation of found footage, combined with a sophisticated take on 21st century social media communication, give her a very distinct voice, full of humour and energy.

John Finneran, Dream of the Figure Dreamers, 2016. Oil and crayon on linen, 167.64 x 187.96 cm. Courtesy of the artist and 47 Canal
Art Consultancy By Nina Johnson

Growing the Aspen Collection in New York

The Consultancy team have acquired over 20 new works by New York Artists for Aspen Insurance, working with their architects to showcase the expanded collection in a new space.

Vita Roller Skating, 2015. Pastel on paper board, 30 x 40 cm. Courtesy of the artist and Victoria Miro
Recent Acquisitions By Franka Blok

Four portraits by Chantal Joffe acquired for New Art Gallery Walsall

With her paintings featuring primarily women or girls, Chantal Joffe brings a psychological and emotional force to the genre of figurative art and portraiture.

Vanessa Bell, Nude with Poppies, 1916, oil on canvas, 23.4 x 42.24 cm, Swindon Museum and Art Gallery. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett
Friday Dispatch 24 Mar 2017 By Caroline Douglas

Vanessa Bell at Dulwich Picture Gallery

The exhibition and the accompanying catalogue have clearly been a labour of love to put together for curator Sarah Milroy and Dulwich’s departing director, Ian Dejardin. They are both a milestone in scholarship and I heartily recommend both to you.

Lubaina Himid, A Fashionable Marriage, 1986. Courtesy artist & Hollybush Gardens. Photo Matthew Birchall & Tao Lashley-Burnley
Friday Dispatch 17 Mar 2017 By Christine Takengny

The Place is Here at Nottingham Contemporary

The question arises why it has taken almost 30 years to gain the visibility that black artists were already fighting for in the 1980s.

Rhys Coren, The Perennial Pandangle, 2017. Spray paint, acrylic and pencil on board, 60.7 x 60.7 cm. Courtesy of the artist and Seventeen Gallery. Photographer: Damian Griffiths
Friday Dispatch 10 Mar 2017 By Caroline Douglas

Rhys Coren: Whistle Bump Super Strut at Seventeen Gallery, London

“I like the idea that a work can make you dance or smile immediately before you yourself have even worked out if it interests you on more conscious levels.” That is certainly what happened to me as I walked from one picture to the next.

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