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Neil Brownsword, Waster, 2011. Ceramic industrial archaeology, dimensions variable. Image courtesy the artist.
Recent Acquisitions 28 Jun 2017 By teamcas

Installation by Neil Brownsword acquired for The Potteries Museum & Art Gallery

Adopting the role of both artist and archaeologist, Brownsword unearths discarded by-products from closed Staffordshire ceramic factories to create sculptures that reflect on the forces of globalisation and the local economy.

Ron Nagle, Casting Aspersions, 2016, ceramic, catalysed polyurethane and epoxy resin, 14.6 x 9.5 x 11.4 cm, 5 3/4 x 3 3/4 x 4 1/2 ins. Photograph by Don Tuttle. Image copyright the artist and courtesy Stuart Shave/Modern Art, London
Friday Dispatch 23 Jun 2017 By Caroline Douglas

Ron Nagle: Amended Testimony at Stuart Shave/Modern Art

Ron Nagle’s beautifully installed first ever UK solo show offers a new perspective on the history of ceramic sculptures as an art form.

Marta Minujín, The Parthenon of Books, 2017,
 steel, books, and plastic sheeting
, Friedrichsplatz, Kassel, documenta 14, photo: Roman März
Friday Dispatch 16 Jun 2017 By Ali MacGilp

Documenta 14, Kassel

This edition of documenta offers a rare chance to see works by female artists, indigenous artists and older artists who have been neglected by the market.

Ex Machina display at Into the Unknown: A Journey through Science Fiction, Barbican Centre 3 June – 1 September. Credit Tristan Fewings / Getty Images.
Friday Dispatch 9 Jun 2017 By Caroline Douglas

‘Into the Unknown: A Journey through Science Fiction’ at Barbican Art Gallery, London

“We are only seeking Man. We have no need of other worlds. We need mirrors.”

Maeve Brennan, The Drift (2017). HD video with sound, 50′ 29” (video still). Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore. Courtesy of the artist.
Friday Dispatch 2 Jun 2017 By Caroline Douglas

Maeve Brennan: The Drift at Chisenhale Gallery, London

Brennan’s portrait of three individuals in Lebanon is sensitive, sympathetic and nuanced, all the while overlaid with the optimism inherent in the metaphorical act of mending.

A folio from Ajayeb al Makhluqhat. Image courtesy Morehshin Allahyari
Friday Dispatch 26 May 2017 By Elea Himmelsbach

Morehshin Allahyari, She Who Sees The Unknown: Ya’jooj Ma’jooj at The Photographers’ Gallery

Finding herself literally “walled out” of her own country during Donald Trump’s first attempt at the Muslim travel ban, Iranian-American artist Morehshin Allahyari explores the Qur’anic story of Ya’jooj and Ma’jooj

Grayson Perry preparatory sketch. Courtesy the artist and Victoria Miro, London © Grayson Perry
CAS Recommends 25 May 2017 By Marcus Crofton

June 2017

The CAS-commissioned No End to Enderby by Graham Eatough and Stephen Sutcliffe, which explores Anthony Burgess’ Enderby novels, will be premiering at the Manchester International Festival, one of a number of must-see events in the city this month.

Yi-Chun-Lin, Another Escape, 2014, © the artist
Art Consultancy By teamcas

Aspen Online Art Award relaunched for 2017 as the Aspen Digital Art Award

The value of the award has doubled from £5,000 to £10,000 allows a greater range of work to be commissioned.

John Stezaker, Painting, 2013-2016. Collages on paper, 8 parts. Each part 53 x 42 cm, overall size 53 x 450 cm. Courtesy of the artist.
Recent Acquisitions By Franka Blok

Eight collages by John Stezaker acquired for Birmingham Museum and Art Gallery

The collages respond to a key series of work in Birmingham’s collection, ‘Pygmalion and the Image’ (1875-78) by Edward Burne-Jones, and was completed whilst Stezaker was curating an exhibition there.

Dineo Seshee Bopape, mabu/mubu/mmu, 2017. Soil, ceramics, herbs, crystals, coal, ash, sound. Photographs provided by the PinchukArtCentre © 2017. Photo by Sergey Illin.
Artist to Watch By Ali MacGilp

Dineo Seshee Bopape

Her work undermines the machismo of land art; her use of soil as a sculptural material couldn’t be further from that of Walter De Maria’s minimalist ‘Earth Rooms’ of the 60s and 70s.

Installation view, Jordan Wolfson, Riverboat song, Sadie Coles HQ, London, 27 April – 16 June 2017. Copyright the artist, courtesy Sadie Coles HQ, London. Photography: Robert Glowacki
Friday Dispatch 19 May 2017 By Caroline Douglas

Jordan Wolfson at Sadie Coles HQ

These are bitingly sardonic works that operate nimbly across a multiplicity of media, negotiating the complexity of many different allusions without ever being explicit about references.

A performance by Barby Asante at Diaspora Pavilion, Venice, May 2017
Friday Dispatch 12 May 2017 By Caroline Douglas

Diaspora Pavilion at the Venice Biennale

The project is an exemplary intervention into the professional lives of 12 young and emerging artists whose names will surely become much more familiar over coming years.

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