The First Art Newspaper on the Net   Established in 1996 United States Sunday, September 22, 2019


Thomas Dane Gallery presents exhibition of new works by Phillip King
Phillip King: Colour on Fire & Ceramics 1995-2017 29 Nov 2017 - 3 Feb 2018.


LONDON.- For his second show at Thomas Dane Gallery, Phillip King PPRA CBE (b. 1934 Tunis) presents an exhibition in two contrasting halves that explore some of the wide diversity of approach to materials the artist has adopted over the last 60 years. Steeped in both ancient tradition and modernist simplicity, these new works reveal the investigations of a peerless sculptor who continues to challenge materials and form.

At 11 Duke Street St James’s a crowd of solemn, statuesque, unglazed ceramic vessels populate the gallery spaces. From domestic to monumental scale these works suggest a utilitarian purpose, though each is cut open in some way revealing the volume behind their surfaces. The form of these ceramics chimes with King’s persistent desire to cut into the surface of his sculptures in order to open them up to understand their density and volume (for example Rosebud, 1962 and Through, 1965). Part Brancusian totems and part abstract figures, King sets off echoes within the group of works with forms repeating and mutating throughout the show.

King has had a long and enduring relationship with clay, from the beaches of Tunis as a boy where he was born and grew up, to the architecture of the ruins in Carthage he visited, and the sun-baked adobe block buildings of North Africa, through to his visits in the late 1980s to Japan where he became fascinated by the ancient tradition of Jomon ceramics. King thrives off the immediacy of its malleability, traditionally not making preparatory sketches or plans for any of his work, preferring to resolve the form of his work intuitively directly with his hands. King chooses to leave his ceramic works unglazed, giving them a sense of historical or archaeological relics (and in also keeping with the Jomon tradition). Though not one to stand on tradition, King is constantly experimenting with clay, adding glass fibre and paper pulp in order to explore and extend the possibilities of the material.

At 3 Duke Street St James’s King presents new work that extends his investigation into colour and volume. Again, using the method of cutting through his work to explore the balance between the surface of an object and its volume. Colour on Fire, 2017, a large geometric form in bright hues (blue, pink and green), has been perforated, almost obliterated, with dozens of large cylindrical holes that bisect the volume of the sculpture. The vibrant and competing colours of the work also combine with the brightly coloured walls of the gallery – visible around the work but also through its perforations.

The geometry of the work is also broken by a sense of collapse as the two halves of the sculpture seem to slump across two plinth-like, ominous, black boxes. In this work, we are reminded of Hepworth’s abstract forms frequently cut through with cylindrical holes but moreover the reclining figures of Henry Moore (King’s employer and mentor in the very early days of his career). Anti-monumental and perhaps reminiscent again of the architectural ruins of Carthage, the shapes balance lightly, precariously, on one another as if to remove one would mean the collapse of them all.

Between the two halves of the show King continues to move between a diverse range of materials, constantly experimenting and exploring their possibilities and limitations. This lack of reliance on any medium is characteristic throughout King’s career, often creating works purely in order to challenge himself and his understanding of sculpture and materials.

Phillip King’s work is in the collections of major international museums, including Tate, London; MoMA, New York; Pompidou, Paris; MOCA, Los Angeles; Rijksmuseum, Amsterdam; Louisiana Museum of Modern Art, Humblebaek; Osaka Museum, Osaka; National Gallery of Australia, Canberra.

Major outdoor sculptures are on permanent display at Houghton Hall, Norfolk; University of Liverpool; Zuiderpark, Rotterdam; Kistefos Museet, Norway, Venet Foundation, France; European Patent Office, Munich; as well as various other civic and rural locations around the world.






Today's News

January 1, 2018

A wonderful tradition and a welcome injection of colour: Turner in January 2018

Pioneer architect John Portman dead at 93

Berlin's Gemäldegalerie brings all fragments of diptych by Jean Fouquet together for the first time in 80 years

Exhibition of major paintings and works on paper by Georg Baselitz on view at Michael Werner Gallery

From Stone to Silicone: Recasting Mesopotamian Monuments" at the Harvard Semitic Museum

Exhibition investigates for the first time the great revolution in photography made possible by Leica cameras

Exhibition at Galerie Max Hetzler presents works by Jérémy Demester

Survey from 1994 to the present of the work of Rodney Graham on view at the Irish Museum of Modern Art

Museum of Modern Art in Warsaw explores Kinetic and Op Art in Eastern Europe and Latin America

Exhibition presents highlights of the University of Applied Arts Vienna's 150-year history

BFI launches landmark Jewish Britain on Film collection

Solo exhibition of works by Olivier Mosset on view at the Jean-Paul Najar Foundation

Thomas Dane Gallery presents exhibition of new works by Phillip King

Georgia Museum of Art Museum shows 19th-century weaponry

Exhibition at German Cinematheque Museum of Film and Television celebrates Ufa's centennial anniversary

Exhibition at 80WSE Gallery explores the relationship between aesthetics and politics in Central America

Solo exhibition of prints and sculptures by Elizabeth Catlett on view at Burning in Water

New Yorker Lucy Raven wins art on the Bauhaus Museum building competition

Contemporary art paired with Faberge Eggs at the Walters Art Museum

GRIMM Gallery presents the politically charged exhibition 'Community Board'

Magali Reus' largest solo exhibition to date on view at Bergen Kunsthall

Vibeke Tandberg announced as winner of Lorck Schive Kunstpris 2017

Florian Hecker transforms Kunsthalle Wien's exhibition space transforms into a resonating space

mumok exhibits works by the Kapsch Contemporary Art Prize 2017 winner: Julian Turner

Most Popular Last Seven Days



1.- Holocaust 'masterpiece' causes uproar at Venice film festival

2.- To be unveiled at Sotheby's: One of the greatest collections of Orientalist paintings ever assembled

3.- Bender Gallery features paintings by up and coming Chicago artist Michael Hedges

4.- Lévy Gorvy exhibits new and historic works by French master in his centenary year

5.- Artificial Intelligence as good as Mahler? Austrian orchestra performs symphony with twist

6.- Fascinating new exhibition explores enduring artistic bond between Scotland and Italy

7.- Exhibition explores the process of Japanese-style woodblock production

8.- Robert Frank, photographer of America's underbelly, dead at 94

9.- The truth behind the legend of patriot Paul Revere revealed in a new exhibition at New-York Historical Society

10.- Hitler bust found in cellar of French Senate



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful