Paul Stolper Gallery

We are delighted that has featured in Lindsay Zoladz’s article ‘A Pop Taboo Now Broken: Singing About Body Image’. She discusses expectations around women’s body image and how these pressures felt by female artists manifest through song

Commissioned by

Images
1. Petra Börner ‘A Pop Taboo Now Broken’ in Lindsay Zoladz’s article of the same name in the New York Times
2. Petra Börner ‘Triko’ 2024, Signed, Titled and Numbered, Screen-print on mixed media, 51 x 40.5 cm
3. Petra Börner ‘Bluebrow, Face Paint (hand)’ 2024, Signed, Titled and Numbered, Screen-print on mixed media, 51 x 40.5 cm

🔗Click the link in our bio to purchase works by Petra Börner

For more information, please email [email protected]

Today marks the anniversary of ‘Freeze’ hosted within a Port Authority building in London’s Docklands in 1988. Curated by Damien Hirst, the exhibition has gone down in history as the catalyst for the YBA movement, launching the careers of young artists including amongst others Damien Hirst, Angus Fairhurst, Sarah Lucas, Mat Collishaw, Abigail Lane, and Gary Hume

‘There wasn’t a sense that we were changing the shape of British art, necessarily, but we wanted to change the given trajectory of how you became an artist: leave college, get a part-time teaching job, or a full-time teaching job - all very slow. We thought: why should we wait for this slow endorsement? Let’s just take it.’ Gary Hume

Images
1. Damien Hirst ‘The Golden Calf’ 2009, 125 x 60cm
2. Installation shot of Anya Gallaccio ‘Waterloo’ 1988
3. Detail from Angus Fairhurst ‘Drawing I’ 1995, 29.6 x 19.1cm
4. Julian Simmons and Sarah Lucas ‘YOKO SMOKING THROUGH HER BELLY-BUTTON EYE (LOW)’ 202, 104.3 x 78cm
5. Freeze opening party, showing (left to right), Ian Davenport, Damien Hirst, Angela Bulloch, Fiona Rae, Stephen Park, Anya Gallaccio, Sarah Lucas and Gary Hume
6. Mat Collishaw ‘GASCONADES (Nolimit)’ 2018, 52.5 x 41.5 cm
7. Mat Collishaw ‘Dangerous Curves’ 2018, 84 x 84 x 10 cm
8. Installation short of Mat Collishaw with ‘Bullet Hole’ 1988
9. Damien Hirst ‘The Cure - Sienna Red/Tangerine/Light Tangerine’ 2014, 72 x 51 cm

🔗Click the link in our bio to purchase works by Damien Hirst, Angus Fairhurst, Sarah Lucas, and Mat Collishaw

For more information, please email [email protected]

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Richard Hamilton ‘Kunsthalle Bielefeld’ 1978

​​The Kunsthalle Bielefeld was built in 1968 according to plans by the American architect Philip Johnson (1906-2005). It is his only museum building in Europe and an architectural monument. The iconic building marks a first early turning point for Johnson towards postmodern design. Richard Hamilton had a retrospective at the institution in 1978 from where this poster design derives

Images
1. Richard Hamilton ‘Kunsthalle Bielefeld’ Signed, Dated and titled in pencil, Colour offset lithograph, 70 x 50cm
2. Richard Hamilton in his studio in Highgate, London, c. 1970s, credit - Redferns
3. Sculpture Garden at Kunsthalle Bielefeld, credit - Thomas Robbins

🔗Click the link in our bio to purchase ‘Kunsthalle Bielefeld’

For more information, please email [email protected]

Today marks 31 years since Joshua Compston’s first ‘Fete Worse than Death’ held near Hoxton Square on 31st July 1993

Having founded his gallery ‘Factual Nonsense’ in 1992, Compston began a series of art-centric events that were hosted in Shoreditch and took inspiration from the traditional British folk festival. The first fete exhibitted then relatively unknown artists such as Gavin Turk, Gillian Wearing, Mat Collishaw, Sarah Lucas, Tracey Emin and Gary Hume manning stalls and selling art. Damien Hirst and Angus Fairhurst both dressed as clowns and it is also where Hirst produced his first spin paintings (yours for £1)

🔗Click the link in our bio to visit our exhibition archive and to view ‘Factual Nonsense - The Art and Death of Joshua Compston’ 2013

Images
1. Guy Moberly, Damien Hirst and Angus Fairhurst at the ‘Fete Worse Than Death’ dressed as clowns, 2012
2. Factual Nonsense / Fete Worse Than Death pamphlet 1994
3. Factual Nonsense First “Party” Conference Poster, 1993
4. Factual Nonsense / A guide for the perplexed Private View Invitation 1992, Letterpress printed by Tom Shaw
5. David Taborn ‘Factual Nonsense’ print, 1991, Published by GB magazine and Factual Nonsense Limited Edition

Yoshida: Three Generations of Japanese Printmaking

19 June - 3 November 2024
Dulwich Picture Gallery
Gallery Road, London
SE21 7AD

‘Meet the Yoshida dynasty of artists. Featuring over 75 exquisite prints, this exhibition journeys from the rich, nostalgic landscapes of the prolific artist and patriarch of the family, Hiroshi to the abstract work of the family’s later and current generations

The first of its kind in the UK – and Europe more widely – this exhibition shines a spotlight on three generations of woodblock print artists including Yoshida Hiroshi, Fujio, Tōshi, Hodaka Chizuko and Ayomi, tracing the evolution of Japanese printmaking across two centuries’

Images
1. Yoshida Hiroshi, Taj Mahal, 1931, Courtesy of Paul Stolper Gallery
2. Yoshida Hiroshi, Morning on Mount Tsurugi, 1926, Courtesy Fukuoka Art Museum
3. Yoshida Fujio, Yellow Iris, 1954, Private Collection, Photograph by Mareo Suemasa
4. Yoshida Toshi, Shinjuku, 1938, Courtesy Fukuoka Art Museum
5. Yoshida Hiroshi, Grand Canyon, 1925, Courtesy Fukuoka Art Museum
6. Yoshida Hiroshi, Kumoi Cherry Trees, 1926, Courtesy Fukuoka Art Museum

Petra Börner and Lauren Bryden at

Paul Stolper Gallery invites you to view works by
Petra Börner and Lauren Bryden at

Norton & Sons
16 Savile Row, London
W1S 3PL

Monday - Friday 9:30 - 5:30 PM
Saturday 10 - 5 PM

For the launch of Tailoring For Women, Norton & Sons’ first women’s made-to-measure service, Paul Stolper has curated an exhibition of works by Petra Börner and Lauren Bryden

To book appointments or an in person walk-through please contact [email protected]

Gavin Turk’s ‘Your Authorised Reflection’ is on show at THISPERSONDOESNOTEXIST

THISPERSONDOESNOTEXIST
20 June - 10 September 2024

5A Bathurst Street
London W2 2SD
Monday - Friday 10am - 6pm
Weekends by appointment

‘The mirror is fated to turn people’s reflection back to front, what is seen in the mirror is a reverse of what others see. The question of existence is further complicated by the artist’s signature in the bottom right hand corner; the reflection is now read as a signed art work. The mirrors surface, printed in the artist studio features slight imperfections, allowing the audience to scry the ‘magic’ mirror.’
- Gavin Turk, 2024

🔗Click the link in our bio to purchase works by Gavin Turk

Back in the Dazed
Rankin 1991-2001
28 May 2024 — 7 July 2024
@180.studios

‍Back in the Dazed is the first retrospective in the UK of Rankin’s groundbreaking works

‘From cult celebrities, to musical icons and the world’s top Supermodels, Rankin was at the forefront of Cool Britannia and the 90’s style which is still popular today. Co-founder and Dazed & Confused’s first Photographic Editor, Rankin’s visual style helped launch the magazine and defined the aesthetics of multiple generations of British youth.’

‘‍Back in the Dazed is a love letter to youthful creativity, all as captured by one legendary photographer and published by one seminal magazine.’

‘Back in the Dazed: Ranking 1991-2001’ ends this week on Sunday 7 July

on the cover for shot by

Peter Saville responds to questions from treasured friends and collaborators

asks

From a diagram you made many many years ago, which still strikes me as even more relevant today than when first conceived, could you explain a little about your thinking and if you still feel these concerns in the same way?

DESIGNER – OTHER PEOPLE’S PROBLEMS
ARTIST – MY PROBLEMS

DESIGNER – ANSWERS
ARTIST – QUESTIONS

—Paul Stolper, gallerist

Sometimes we’re better served by what we don’t know than what we do. If I’d understood the distinction between art and design at the beginning, I would not have made the work I did. I certainly would not have chosen to define myself as a graphic designer though the medium has gifted me a mass audience. At the outset, the ad hoc nature of Factory Records afforded me an unprecedented degree of autonomy to make the kind of work I wanted to see in everyday life. I had a problem with the visual content of pop culture and Factory allowed me to conflate answer and question, in mass production. Now it’s all different, and yet the same as I am. Fortunately my status grants me some autonomy within ‘other people’s problems’ but it’s elusive.

Happy Birthday to the great Peter Blake, 92 today! An amazing pic of Peter in NY 2010, Peter holding a photo of himself by Dennis Hopper, in which Peter is holding an even earlier photo of himself. We happened to be passing Tony Shafrazi’s gallery, went in and saw the Dennis Hopper 1960’s photograph. The second pic is a beautiful portrait of Peter and Chrissy at the Lacy Gallery Westbourne Grove

Dora Maar: Surrealism is 100

This year marks the 100th anniversary of Surrealism. In honour of this major milestone, Paul Stolper Gallery celebrates the contribution of Dora Maar and her involvement as an integral member of the burgeoning Surrealist movement in late 1920s and early 1930s Paris.

By using a Rolleiflex, first introduced in 1929, a camera which required very little setting up time, and which was light and compact, Maar could capture images almost spontaneously and experimentally. Much like the photographer Eugène Atget had before, she preferred to document the chance encounter as she journeyed through the poorest areas of the city. In ‘La Zone’, seen in the first image, far from the glamour of the recently opened chic fashion boutiques and cafés that crowded G E Hausmann’s ongoing re-designed modern Paris, Maar photographs a silent, barren, poverty-stricken dwelling, the washing line and Surrealist mannequin head, the only clue that people might actually live there. This contrast between the populations of the marginal and displaced, separated both physically and sociologically from the beau monde of Paris is even more dramatically heightened in ‘Le Sacre-Coeur’, seen in the fifth image, the church as a distant beacon seen from the Northern suburb of Bidonville’ obscured by a wooden and barbed-wire fence. ‘Hull of the Drakkar, Viking Ship Museum, Oslo, Norway’, seen in the second image, exemplifies the silent and empty, the dream-like; usually surrounded by tourists, in Maar’s photograph the cathedral-like room is devoid of people and therefore its scale elusive, it is a masterpiece of Surrealist imagery.

🔗Click the link in our bio to find out more about and purchase works by Dora Maar

Marcus Harvey is a British painter and sculptor, publisher and art educator associated with the YBA group of artists who came to prominence in the 1990’s and is best known for his iconic work ‘Myra’ which provoked huge controversy when exhibited in Sensation at the Royal Academy in 1997. It is currently on show at Damien Hirst’s Newport Street Gallery as part of ‘DOMINION’, an exhibition curated by Connor Hirst. Harvey has continued to explore themes of British identity through heavily manipulated, often controversial iconography. Marcus Harvey makes highly worked figurative paintings and sculptures, seeking out imagery that is emblematic of a brutish but proud Britishness. Recently, Harvey has started to work extensively with ceramics forging motifs and emblems, including ‘Ball’, a tough but humorous sculpture, unapologetic and brash, political yet ambiguous, considered and painterly.

🔗Click the link in our bio to purchase works by Marcus Harvey

Installation shots from the 2018 exhibition ‘Half Nelson’ at Paul Stolper, including:
‘Ball’, 2018, Glazed stoneware - 19 x 22 x 16 cm. Edition of 22
‘Little Napoleon’, 2018, Glazed stoneware - 58 x 48 x 23 cm. Unique
‘Half Nelson’, 2018, Glazed stoneware - 77 x 47 x 52 cm. Unique

The Royal Academy Summer Exhibition, 18 June - 18 August

Paul Stolper Gallery is pleased to announce that Peter Doig’s ‘Brixton Ritzy’ has been selected for the RA Summer Exhibition, 18 June - 18 August

‘Brixton Ritzy’ is a portrait of Linton Kwesi Johnson, legendary reggae poet, activist and pivotal figure in contemporary poetry, culture and music, and trustee of the George Padmore Institute. He has also made forays into contemporary art in the early 1980’s when he organised an open exhibition of Black British art including Keith Piper, Eddie Chambers and Sonia Boyce, with the aim of platforming art in tune with the struggle for racial justice

It was also around this time that a youthful Peter Doig went to see Kwesi Johnson performing at the Ritzy in Brixton. ‘One of the musicians whose music led me to London was Linton,’ Doig said. ‘I first saw him in 1980, the year after I arrived from Toronto.’ Doig still vividly remembers the Brixton gig as ‘a powerful performance as much as a concert: LKJ had this kind of non style/stylishness…he did not look like a musician – either from reggae or the pop worlds – his words were spoken, which really suited his appearance- a bit like a cool teacher. His music still sounds as fresh and surprising today as it did back then.’

🔗Click the link in our bio to purchase tickets to the RA Summer Exhibition 2024

Image
Peter Doig ‘Brixton Ritzy’ 2023, Inkjet Print - 101.5 x 71.5cm. Edition of 150

The Royal Academy Summer Exhibition 2024

Paul Stolper Gallery is pleased to announce that Brian Eno’s ‘Manichean Alternator’ has been selected for the RA Summer Exhibition, 18 June - 18 August

🔗Click the link in our bio to purchase tickets to the RA Summer Exhibition 2024

Images
Brian Eno ‘Manichean Alternator’, 2024, Lenticular - 50 x 50 cm. Edition of 50

Made from 1992 onwards, Keith Coventry’s ‘Estate’ paintings and prints transform social housing estates into Constructivist- looking artworks. Confronting the Utopianism of Modernism with its mismanaged results, Coventry highlights Britain’s crumbling inner-city estates and an all but invisible society that inhabits that landscape. The works derive from the plans of housing estates often displayed at their entrances, which Coventry has re-imaged in the style of Malevich’s Supremacist non-objectivity, framed as a Modernist relic

His re-appraisal of the relationship of art history to the contemporary urban environment makes these works act as the ‘history paintings’ of the twentieth and twenty-first centuries

🔗Click the link in our bio to purchase ‘Estate’ works by Keith Coventry and to view our viewing room ‘Keith Coventry - Estates - Lino Cuts and Etchings’

For more information, please contact [email protected]

Artworks
1. Bayham Estate, 2015, Signed, numbered, titled and dated, Linocut on paper, 24 x 18.5 cm
3. Allom Barlow Estate, 2016
4. Flowermead Estate, 2016
5. Trowbridge Estate, 2016
6. Sheffield Estate, 2016
7. Peckham Park Estate, 2015
8. Weighgate Estate, 1998-2016
9. Simmons Estate, 2008, Etching on Somerset 300gsm, 61 x 48.5 cm
10. Tiber Estate, 2008
racing.gallery

and are amongst many artists that have donated artworks to Sophie’s Postcard charity auction

has raised over £82,000 for The Royal Marsden Cancer Charity in memory of former pupil, Sophie Maria Taylor. All money raised goes directly to the charity and the project is entirely run by volunteers who are staff and friends of St Richard’s Catholic College

auction goes live on 19 June. Artwork will be listed for 10 days on eBay with lots ending on the weekend of Sat 29 / Sun 30 June 2024

🔗Click the link in our bio to find out how to contribute to Sophie’s Postcard charity auction

Inspired: Peter Saville in conversation with Jack Self
In conversation with Editor-in-Chief of the Real Review, Jack Self, Peter will be speaking to his distinct design process and his career

Wednesday 22 May, 7 - 9 pm

Sarabande Foundation: Established by Lee Alexander McQueen
22 Hertford Road London N1 5SH

Having worked with some of the world’s biggest fashion houses and musicians, Peter Saville exists in a territory of his own. His practice can be located somewhere between art and design – merging aspects of both, his unparalleled approach has resulted in a unique contribution to culture

His journey began at 22 when he co-founded and became the Art Director of Factory Records, granting him unprecedented freedom to create without the typical constraints of commercial artists. Through his iconic record sleeves for Joy Division and New Order, Saville defied conventions by sometimes omitting crucial information or using visual codes, which challenged traditional modes of consumption and communication. Saville’s visionary approach broadened visual literacy beyond mere textual interpretation, shaping his enduring impact on contemporary culture

Among his fashion collaborations are

🔗Click the link in our bio for more information on the talk and to purchase works by Peter Saville

Images
1. UNKNOWN PLEASURE FLURO PINK, 2015, Resin, polyurethane paint, 32 x 32 x 14 cm
2. . NEW WAVE ORANGE II, 1998-2019, Inkjet print on Hahnemühle German Etching paper 310 gsm, 42 x 59.4 cm 2019, Edition of 10
3. ‘IRREGULAR CERULEAN BLUE’ (FROM THE ‘METALANGUAGE’ SERIES), 1980 – 2015, Die-cut form, silkscreen on Canson Conservation White 2400 micron, Framed: 102.5 x 64 x 3.8 cm, Edition of 20
4. WASTE PAINTING #8.10, 1998 - 2019, Inkjet, 120 x 96 cm, Edition of 10
5&6. PETER SAVILLE PRINTS AND MULTIPLES / ANNA BLESSMANN AND PETER SAVILLE SIGNS, 2019

in the Drawing Biennial 2024

Exhibition & Online fundraising auction of around 300 unique works on paper

Exhibition
Friday 3 May - Wednesday 3 July

Auction
Wednesday 19 June - Wednesday 3 July

The Biennial is a vital fundraiser that provides Drawing Room with funding for the next two years of activity, supporting artists and the gallery’s community through championing drawing

🔗Click the link in our bio to learn more about the Biennial and how to support Drawing Room’s mission

Turntable II in ‘Gadgets to keep your records looking (and sounding) gorgeous - Top tech for your vinyl collection’

‘and when it’s not playing a record, it’s a sculpture’ Brian Eno 2024

🔗Click the link in our bio to purchase Turntable II

HARD ART Fundraiser Exhibition & Book Launch

Private View
Thursday 23 May 6pm - 8pm

Exhibition Times
Friday 24 May 10am - 6pm
Tuesday 28 May - Saturday 1 June 10am - 6pm

‘A clever idea in the hands of a multi-talented artist. Fascinating stuff!’
Brian Eno

We are pleased to invite you to the fundraising exhibition and book launch of collaborative portraits by the Hard Art Collective

‘Blind contour’ portraits drawn by attendees of Hard Art. Coloured in by Ian Bruce. Featuring Brian Eno, Es Devlin, Jeremy Deller, Love Ssega, Cornelia Parker, Gavin Turk, Louis VI, Olivia Douglass, Chris Morris, Fred Again and many more

Hard Art is a cultural collective standing in solidarity in the face of climate and democratic collapse. The initiative began to take form in Brian Eno’s London studio with roundtable conversations on topics ranging from geo-engineering to alternative forms of economics

The artist and musician, Bruce, was invited to depict the attendees at Hard Art sessions. He used a simple exercise of pairing people up and asking them to draw each other in pen without looking at the paper - a technique known as ‘blind contour drawing’. Using crayons, Bruce then coloured in each linear abstraction, pulling whatever likeness the meandering facial features would allow. During the private view, visitors can also do their own ‘blind contour’ portrait and commission Bruce to colour it in

The exhibition is accompanied by a book featuring all the artworks alongside texts by Brian Eno, Jay Griffiths, Louis VI, Olivia Douglass, Clare Farrell, Corbin Lamont, Alex Lockwood and Paul Ewen

The artwork and book sales will contribute to a fundraiser for Hard Art. Both will be available at the gallery and online through Metalabel

For more information, please contact [email protected]
http://www.ianbruce.net
collective

Said Adrus is hosting a film screening and talk ‘Retracing Kampala: Questions of Memory’ on ‘Riddle of Bakuli’ (2020) a film collaboration between Adrus, Daniel Saul and LCC Animation students.

Wednesday 8 May, 3.00 - 4.30pm
Room MLG06, London College of Communication, University of the Arts London

🔗Click the link in our bio to join Said Adrus’ film screening and discussion

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Said Adrus ‘Zeitgeist’ 2022

A yellowish gold tint covers a monochrome black and white print for Zeitgeist (1982-3), an artwork by Said Adrus.

A silk screen printed newspaper photograph in black is foiled on a background of yellowish-gold in Adrus’ ‘Zeitgeist’. It captures the police in a scene of urban disorder - their dark silhouettes appear at once apprehensively hiding behind their riot shields and ready for an ongoing battle. By repurposing the Pop art techniques of Robert Rauschenberg and Andy Warhol, the photograph becomes an aesthetic object stripped of the immediacy of news discourses

Further Reading
Sharma, Ashwani (2019) Zietgeist. In: The Place is Here: A Montage of Black Art in 1980s Britain. Sternberg Press, London, pp. 323-347

‘Zeitgeist’ was shown as part of ‘Wisdom Man’ our show honouring the life and work of Linton Kwesi Johnson in 2023.

🔗Click the link in our bio to purchase ‘Zeitgeist’

For more information, please contact [email protected]

Images
1. Said Adrus, ‘Zeitgeist’, 2022, Silkscreen on paper, 55 x 64 cm
2. and 3. Installation shot, ‘Wisdom Man’ at Paul Stolper Gallery, 2023

A selection of prints by Helen Beard

Helen Beard’s stark colour-fields are a thrilling celebration of female sexual experience. Their surfaces are filled with rich textures that mimic the supple contours of the human body. Although sourced from pornographic images, Beard’s work is far from crude - her palette unites interlocking blocks of flesh, resulting in a tangle of erotic fantasy

Images
1. Wetting A New Tongue With No Telling’ 2021, Injet on Somerset Photo Satin, 50 x 45 cm
2. ‘Remember Me As A Sunny Day’ 2021, Silkscreen print on Somerset paper, 100 x 79.7 cm
3. ‘It’s Her Factory’ 2021, Silkscreen print on Somerset paper, 100 x 98 cm
4. ‘If They Be Two They Are Two So’ 2021, Silkscreen print on Somerset paper, 100 x 150 cm

🔗Click the link in our bio to purchase works by Helen Beard

For more information, please contact [email protected]

A selection of prints by Tanya Ling

Born in Calcutta in 1966, Tanya Ling began her career in the arts through the fashion industry. Having studied at Central Saint Martin’s, Ling worked in Paris as a designer before returning to London to open Bipasha Ghosh Gallery with her husband, William Ling, in the early nineties. Following an exhibition of her own drawings, hosted in the studio of Gavin Turk in 1996, she became recognised as one of the world’s leading fashion illustrators. From here, she has produced clothes for clients such as Louis Vuitton and Vogue, and has both designed and created her own ready-to-wear collection. In 2001, Paul Stolper showed Ling’s fashion watercolours at Timothy Everest in Elder Street. Before her departure from fashion in 2014, the V&A acquired over 50 of her drawings in 2011

Powerful, beautiful, strong and tender all at once, the dripping line motif captured in these silkscreen prints are created using the same process Ling uses to create her large scale ink on paper Line Paintings. Through fluid strokes, Ling captures ‘Clacton-on-Sea’, ‘Darley Dale’, ‘Nottingham’, ‘Sheffield’, and ‘Southsea’ in her prints, mapping the landscapes

Images
1. Tanya Ling ‘Clacton-on-Sea’, 2018, Signed and numbered, Two colour silkscreen on Somerset Radiant White Tub Sized Satin 410gsm, 119 x 84 cm, Edition of 25
2. Tanya Ling ‘Darley Dale’, 2018
3. Tanya Ling ‘Nottingham’, 2018
4. Tanya Ling ‘Sheffield’, 2018
5. Tanya Ling ‘Southsea’, 2018

🔗Click the link in our bio to purchase works by Tanya Ling

For more information, please contact [email protected]

On the Walls

New works by Susie Hamilton, Petra Börner, and Lauren Bryden. Following on from the success and a symbiosis between the three artists, their works will be on show in the gallery until May 10, Mon-Fri 10am-6pm

Through figurative and botanical subjects, all works portray movement: Petra’s faces peek out from foliage, Lauren’s pieces emerge out of soil, Susie’s figures trek over ice. All works are unique, allowing each subject to conceal, grow, and tour through their distinct media

Petra’s ‘Facepaint’ series portray coy yet statuesque figures, sometimes hiding at other times enwrapped into curling sweeps of flora

Lauren’s works are an intimate reflection of everyday life as a (m)other, often exploring the beauty and loss of growing and the process of ‘matrescence’, through an innocent gaze. Her work moves between observational and imagined forms and scapes, holding a tenderness towards the subject with a wistful use of colour

Susie reimagines scenes from Arctic expeditions including those of her father August Courtauld. Amongst weather worn silhouettes of these explorers, Susie continues to pursue the themes of man vs nature, the pathos of failure. Highlighting the ‘unnameable’ both in nature and in the marks she makes, some deliberate, many by-products of the printing process, she emphasises the frailties in man as they are obscured by blots and smears

🔗Click the link in our bio to purchase works by Susie, Petra, and Lauren

For more information, please contact [email protected]

Kevin Cummins ‘Venice’ 2015

Manchester born Kevin Cummins has an international reputation as one of the world’s leading photographers

Known for his iconic portraits of rock musicians such as The Smiths, Manic Street Preachers, Courtney Love and David Bowie, Cummins’ seminal photographs of Joy Division were included in the British Pavilion during the Architecture Biennale 2014 in Venice

🔗Click the link in our bio to purchase unique prints by Kevin Cummins and to learn more about Brian Eno ‘Gibigiane’ opening today in Venice


Brian Eno ‘Gibigiane’

Private View - 18 April 3pm - 9pm

Exhibition Dates - 19 April - 10 July
Tuesdays - Saturdays 11am - 6pm

Galleria Michela Rizzo

Giudecca Island 800 Q, 30133 Venice, Italy
Vaporetto stop: Palanca