Anya Gallaccio (born 1963) is a Scottish artist, who often works with organic matter. She was a nominee in the 2003 Turner Prize.

Life and career[link]

Anya Gallaccio was born in Paisley, Scotland to TV producer George Gallaccio and actress Maureen Morris, and studied at Kingston Polytechnic and Goldsmiths College. In 1988—the year she graduated from Goldsmiths—she exhibited in the Damien Hirst-curated Freeze exhibition, and in 1990 the Henry Bond and Sarah Lucas organized East Country Yard shows, which brought together many of the Young British Artists. Gallaccio is a Professor in the Department of Visual Arts at the University of California, San Diego (UCSD).^[1] Gallaccio has exhibited extensively in commercial galleries and institutions. She has recently exhibited at Annet Gelink Gallery, Amsterdam; The Eastshire Museums in Scotland, Kilmarnock; Camden Arts Centre, London; Sculpture Center, New York; Thomas Dane Gallery, London; La Casa Encendida, Madrid; Ikon Gallery, Birmingham; and Kunstmuseum Bonn, Germany. Her work is featured in numerous public and private collections such as the Tate; the Victoria and Albert Museum; the Museum of Contemporary Art, Sydney; and South Gallery, London.

In 2006, she was listed on the Pink Power list of 100 most influential gay and lesbian people of 2006.^[2]

Art practice[link]

Much of her work uses organic materials, with fruit, vegetables and flowers all featuring in her work. Sometimes these materials undergo a change during the course their being exhibited. In Red on Green (1992), ten thousand rose heads placed on a bed of their stalks gradually withered as the exhibition went on. For Intensities and Surfaces (1996) Gallaccio left a thirty two ton block of ice with a salt core in the disused pump station at Wapping and allowed it to melt.

Other works by Gallaccio include Stroke (1993) in which benches in the gallery and cardboard panels attached to the walls were covered in chocolate and Because Nothing has Changed (2000), a bronze sculpture of a tree adorned with porcelain apples. Because I Could Not Stop (2002) is a similar bronze tree but with real apples which are left to rot.

In 2003, Gallaccio was shortlisted for the Turner Prize. One of her pieces for the show was preserve "beauty", 1991–2003, which was made from glass, fixings and 2,000 red gerberas.^[3]

At Houghton Hall in Norfolk, the Marquess of Cholmondeley commissioned a folly to the east of the great house. "The Sybil Hedge" is an "artlandish" folly.^[4] It is based on the signature of the marquis' grandmother, Sybil Sassoon. Gallaccio has created a sarcophagus-like marble structure which is sited at the end of a path; and nearby is a copper-beech hedge which is planted in lines mirroring Sybil’s signature.^[5]

References[link]

1. ^ UCSD Faculty
2. ^ The Independent, (July 2, 2006), Gay Power: The pink list. Retrieved June 25, 2007.
3. ^ "Anya Gallaccio at the Ikon Gallery in Birmingham". Culture24. 24 April 2003. http://www.culture24.org.uk/places+to+go/west+midlands/birmingham/art16312. Retrieved 27 November 2009. 
4. ^ McCarthy, Anna. "Focus on Jeffe Hein," Houghton Hall Education Newsletter, January 2009, p. 3.]
5. ^ Donald, Caroline. "The new garden at Houghton Hall, King’s Lynn, Norfolk," The Times (London). May 11, 2008.

External links[link]

• Biography from Grove Art at the Tate Gallery
• List of exhibitions and literature on Gallaccio from artnet.com
• A brief interview with Gallaccio on beat
• Anya Gallaccio at Lehmann Maupin Gallery

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Gerry Judah (born 30 July 1951) is a British artist and designer who has created settings for theatre, film, television, museums and public spaces. He has recently returned to his fine art roots with highly acclaimed contemporary paintings exploring the effects of war and environmental catastrophes on the urban landscape which have entered a number of international private and public collections.

Early life[link]

Gerry Judah's maternal and paternal grandparents came from Baghdad to settle in the already established Baghdadi Jewish community in India and Burma. His mother was born in Calcutta and his father in Rangoon. Gerry Judah was born in 1951 in Calcutta and grew up in West Bengal before his family moved to London when he was ten years old.

As a boy, the dramatic landscapes of India and the ornate architecture of its temples, mosques and synagogues with their theatrical rituals had a profound effect on Judah's developing psyche. These theatrical elements were to resurface in his own later work. Austere London, still in its post-war drab, was a shock to the young boy, and he chose to spend as much time as possible in his bedroom conjuring up with pencils and paper imaginary landscapes, architectural fantasies and futuristic cars. In short, he became an Artist. He left Whitefield Secondary Modern School, London in 1969 and worked in a number of jobs from kitchen porter (Blooms Restaurant, Golders Green, London) to architectural draughtsman (T.P Bennett and Son, London, Richard Seifert and Partners, London and Douglas Scott, the designer of the Routemaster bus) after which he went on to study Foundation Art and Design at Barnet College (1970–1972) before obtaining a Double First-Class Honours degree in Fine Art at Goldsmiths College, University of London (1972–1975) and studying sculpture as a postgraduate at the Slade School of Fine Art, University College London (1975–1977).

Works[link]

Audi Sculpture, Goodwood Festival of Speed 2009

After college, Judah set up his studio in Shaftesbury Avenue, the theatre centre in the West End of London. There, he began to work on large sculptures. Needing still to earn his keep and finance his work, he took casual work round the corner in many theatres as a stage hand, prop maker and scenic artist. This included work at the Royal Opera House, English National Opera, Royal Festival Ballet, London Contemporary Dance, Sadlers Wells Royal Ballet, Royal Shakespeare Company and the Royal National Theatre.

Alfa Romeo Sculpture,^[1] Goodwood Festival of Speed 2010

Judah was taken with the public nature of this work and decided to find settings for his own art in more public arenas than the rarefied spaces of conventional galleries. He began to build a reputation for innovative design, working in film, television, theatre, and in museums as a set designer, installation artist, sculptor and painter. He created settings for the BBC, British Museum, Natural History Museum, Imperial War Museum, Paul McCartney, Michael Jackson, Led Zeppelin, Robert Plant and Jimmy Page, The Who, David Bailey, Terence Donovan, Sting, Godley and Creme and Ridley Scott Associates. He has also created sculptures for Ferrari, Porsche, Audi, Jaguar, Mercedes Benz, Renault, Ford, Rolls-Royce, Honda, Toyota, Land Rover^[2] and Alfa Romeo^[3] at the annual Goodwood Festival of Speed and has designed bridges in London and Cambridge. Judah also designed a sculpture for Human Rights which was to be sited in Potters Fields, on the South Bank next to Tower Bridge in London and another in Sheffield across the road from the railway station. The London sculpture was recommended for planning permission but was refused by the London Docklands Development Corporation and went to Public Enquiry. It was the first sculpture to be considered for public enquiry and was supported by the Corporation of London, London Borough of Southwark, English Heritage and the Royal Fine Arts Commission along with lawyers from Amnesty International, but was refused planning permission by the Planning Inspector on the grounds that it might incite demonstrations against human rights abuses.

Human Rights Sculpture

The Crusader,^[4] Imperial War Museum North 2010

Amongst a number of commissions from public museums and institutions, Judah was asked by the Imperial War Museum in London to create a large model of the selection ramp in Auschwitz Birkenau for the Holocaust Exhibition opened by the Queen. Extensive research and numerous visits to Auschwitz led Judah to produce a highly acclaimed work that encouraged him to take his art in yet a new direction. Returning to his Fine Art beginnings he began to make art born of his reflections on historical events. He created a body of large three-dimensional paintings exploring the devastations of war and the ravages man has made upon the environment caused by recent conflicts in Eastern Europe and the Middle East with solo exhibitions: 'FRONTIERS' at the Timber Yard, London in 2005, 'ANGELS' at the Royal Institute of British Architects, London in 2006 and the British High Commission, India in 2007, 'MOTHERLANDS' at the Louise T Blouin Foundation,^[5] London in 2007, 'COUNTRY'^[6][7][8] at Wolverhampton Art Gallery, Wolverhampton 2009 and 'BABYLON'^[9][10] at Flowers East Gallery,^[11] London 2009. Gerry Judah's latest work 'THE CRUSADER'^{[12][13][14][15][16][17]} is on show between 6 November 2010 to 6 November 2011 as part of the Artist Reactions series in the Imperial War Museum North, Manchester, UK. Judah has also exhibited internationally with the inaugural exhibition 'COUNTRY' at Fitzroy Gallery, New York in December 2010.

Gerry Judah's work has also been exhibited at the Whitechapel Art Gallery, Camden Arts Centre and Yorkshire Sculpture Park and has entered many international public and private collections including the Charles Saatchi Collection London, Anita and Poju Zabludowicz Collection London, Imperial War Museum London, Essy & Fatima Maleki Collection London, David Roberts Collection London, Chris Drake Collection Sussex, Centre for Arts Israel, Irena Hochman Collection New York, Bobby Kapoor Collection India, Moorilla Museum Australia and The Earl of March Goodwood.

Paintings[link]

• 

  MOTHERLANDS

• 

  COUNTRY

• 

  ANGELS

• 

  COUNTRY

• 

  MOTHERLANDS

• 

  COUNTRY

• 

  ANGELS

• 

  COUNTRY

• 

  MOTHERLANDS

• 

  COUNTRY

• 

  ANGELS

• 

  COUNTRY

Installations[link]

• 

  Jaguar E-Type, 2011

• 

  Land Rover, 2008

• 

  Toyota, 2007

• 

  Renault, 2006

• 

  Honda, 2005

• 

  Rolls-Royce, 2004

• 

  Ford, 2003

• 

  Renault, 2002

• 

  Mercedes-Benz, 2001

• 

  Sustrans, 2000

• 

  Audi, 1999

References[link]

External links[link]

• Gerry Judah Official Website
• http://www.iwm.org.uk/north
• Royal British Society of Sculptors
• Gerry Judah at the Cass Sculpture Foundation
• Portfolio
• http://www.goodwood.com
• http://www.mona.net.au
• The Crusader, Imperial War Museum North
• Country - Gerry Judah, Wolverhampton Art Gallery

Simon Starling (born 1967) is an English conceptual artist and won the Turner Prize in 2005. ^[1]

Early life[link]

Simon Starling was born in 1967 in Epsom, Surrey. He studied photography and art at Maidstone College of Art from 1986 to 1987, then at Trent Polytechnic Nottingham from 1987 to 1990 and then attended Glasgow School of Art from 1990 to 1992. From 1993 to 1996, he was a committee member of Transmission Gallery, Glasgow. ^[2]

Work[link]

Starling was the first recipient of the Blinky Palermo Grant in 1999. ^[3] In 2005, he won the Turner Prize with the work, Shedboatshed that involved taking a wooden shed, turning it into a boat, sailing it down the Rhine and turning it back into a shed.^[4] Starling was short-listed for the Guggenheim's Hugo Boss Prize for contemporary art in 2004.

Exhibitions[link]

The Mahogany Pavillion (Mobile Architecture No.1), by Simon Starling, at Inhotim, Brazil.

His work is in the permanent collection of distinguished museums, such as the Tate Modern, London; Moderna Museet, Stockholm; Solomon R. Guggenheim Museum, New York; Kroller Muller Museum, Netherlands; San Francisco Museum of Modern Art; Museum of Contemporary Art, Chicago; and Museum Folkwang, Essen. Starling has had solo exhibitions at numerous international venues including the Power Plant, Toronto (2008); Städtischen Kunstmuseum zum Museum Folkwang, Essen (2007); Kunstmuseum Basel Museum für Gegenwartskunst (2005); Museum of Modern Art, Sydney (2002); Portikus, Frankfurt (2002); UCLA Hammer Museum, Los Angeles (2002); Kunstverein Hamburg (2001); Vienna Secession (2001), Museu Serralves, Porto (2000); Camden Arts Centre, London (1998); and the Moderna Museet, Stockholm (1998), among others. In 2003, the artist represented Scotland at the 50th Venice Biennial.

Personal life[link]

Starling lives and works in Copenhagen and Berlin, and is a professor of art at the Städelschule in Frankfurt am Main.^[5]

See also[link]

• Turner Prize
• Conceptual art

References[link]

External links[link]

• The Modern Institute: Simon Starling
• Turner Prize 2005: Simon Starling
• Guggenheim: Simon Starling
• Guardian interview (12/2005)
• frieze review (10/2005)
• Casey Kaplan: Simon Starling
• Franco Noero: Simon Starling
• Tate: TateShots: Simon Starling at Tate St Ives. 2011.

Darren James Almond (b. 1971 Appley Bridge, near Wigan, Lancashire, England)^[1] is an artist based in London. He graduated from Winchester School of Arts in 1993, with a BA (hons) degree in Fine Arts.

Life and career[link]

Almond works in a variety of media including photography and film, which he uses to explore the effects of time on the individual.^[2] He uses ‘sculpture, film and photography to produce work that harnesses the symbolic and emotional potential of objects, places and situations, producing works which have universal as well as personal resonances.’^[3]

In 1995, Almond had his first solo exhibition in London, showing a single work, KN120, which consisted of a large ceiling fan installed under London's Westway and wired to his studio.^[4] A Real Time Piece (1995), was a live video link that showed his studio, empty but for an industrial flip-clock on the wall that amplified the passing of each minute.^[5] Amongst Almond’s other early works is a series of nameplates in cast aluminium, made in imitation of the plaques on British 125 inter-city trains.^[6] The film Schwebebahn (1995) features the Sky Train, Wuppertal’s public transport system; over three days, Almond journeyed from the beginning of the line to its end and back again, filming inside and outside of the train in one long unedited take.^[7]

Since 1998, Almond has taken a series of photographs on nights with a full moon, using extended exposure times of fifteen minutes or longer. The Fullmoon series began as a way of navigating the places of traditional landscape painters, e.g. with a shot of Mount Saint Victoire in Provence that had been the subject of many of Cézanne's paintings^[8], but has evolved over time to include other remote locations. For Six Months Later (1999), Almond repeatedly photographed at very precise times an identical location of his studio throughout a set period of time. Each shot features Almond’s desk and chair, a window, two fans and a wall mounted flip clock. Each and every photograph is identical with the only variations being the amount of light that permeates the space and the time displayed on the clock.^[9] Meantime (2000) comprised a shipping container the artist had transformed into a functioning digital clock and filmed as it traveled across the Atlantic.

The film installation Mine (2001) was shot in Karaganda, Kazakhstan. In this two-part work, one projection was shot in color and shows the miners in their locker room changing for work. The camera is stationary and the miners come and go. The second projection shows the view of the tunnel, in black and white, shot from the train that descends into the passages of the mine, in effect what is awaiting the miners when they are finished dressing for work.^[10] His series ‘Infinite Betweens’ consists of photographs that were taken in Tibet, where traditional prayer flags are hung in trails across the mountain ridges as a way to make offerings of thanks and prayers. The flags accumulate and become scattered over one of the highest and most exposed landscapes on earth. As with the Fullmoon photographs, Almond made use of moonlight and long exposures to shoot ‘Infinite Betweens’, preserving the movement of the flags and confronting the viewer with impossible perspectives, different focal points and a feeling of being within the picture. These photographs developed out of Almond’s film In the Between (2006), a 3-channel HD video with audio that examines the new high speed train that connects China with Tibet, a reinforcement of Chinese dominance. The title of these works refers to the Buddhist vision of relativity of all beings and things, the idea that we always occupy an ‘in-between’ state that is never ending and infinite.^[11] In Sometimes Still (2010), Almond follows a Tendai monk as he engages with the Buddhist process of Kaihōgyō, the feat of physical and mental endurance by which these monks attempt to reach a state of Buddhahood.^[12]

Selected exhibitions[link]

Almond’s first one-person exhibition was in 1995 at Great Western Studios, London. In 1997 he had an exhibition at London’s Institute of Contemporary Arts. His subsequent solo exhibitions include those at The Renaissance Society, Chicago (1999); De Appel, Amsterdam (2001)^[13]; Kunsthalle Zürich, Switzerland (2001); Tate Britain, London (2001); K21 Düsseldorf, Germany (2005); Museum Folkwang, Essen (2006); SITE Santa Fe, New Mexico (2007); Parasol Unit, London (2008); and Darren Almond: The Principle of Moments, White Cube Gallery, London (2010). In 1997 at just 26 years of age, Almond was the youngest YBA included in Charles Saatchi’s Sensation show where he showed two works, A Bigger Clock and Fan, featuring objects, an oversized wall mountable flip clock and an equally out of proportion ceiling fan. He has also participated in the Berlin Biennale, Germany (2001); Venice Biennale, Italy (2003); Busan Biennale, South Korea (2004); The Turner Prize, Tate Britain, London (2005); Moscow Biennale, Russia (2007); and The Tate Triennial, Tate Britain, London (2009).

Almond is represented by White Cube, London and Matthew Marks Gallery, New York.

Collections[link]

Almond’s works are part of important collections of international contemporary art such as the Metropolitan Museum of Art in New York, the Saatchi Collection in London, the Fondazione Sandretto Re Rebaudengo in Turin, the Rubell Family Collection in Miami and the Kramlich Collection in San Francisco.^[14]

Awards[link]

Notably, Almond was shortlisted for the Turner Prize in 2005, where he exhibited the four-screen video installation If I Had You (2003) about his grandmother – ‘a portrait of youthful reminiscence and the dignity of old age’^[15] In 1996, Almond was awarded the Art & Innovation Prize by the Institute of Contemporary Art, London, followed by his solo exhibition at White Cube, London in 1997.

Public Commissions[link]

In 2011, Almond was commissioned with a photographic installation and lightbox panels for the Barts and The London School of Medicine and Dentistry.^[16]

Monographs[link]

Madden, Kathleen. Terminus, Galerie Max Hetzler / White Cube / Holzwarth Publications, 2008

Weck, Ziba de. Index, Parasol Unit / Koenig Books, London, 2008

Heynan, Julian. Darren Almond. 50 moons at a time, K21 Kunstsammlung Nordrhein-Westfalen, Verlag der Buchhandlung Walther König, Cologne 2004

Barnes, Brad. Darren Almond. 11 Miles…From Safety, Jay Jopling / White Cube, London 2003

Walker, Hamza and Martin Herbert. Darren Almond, Kunsthalle Zürich, Zurich 2001 Films

This Is Modern Art, (presented by Matthew Collins), Oxford Television Company, Production, Channel 4, June–July, 1999

Reviews[link]

Adrian Searle, The Guardian http://www.guardian.co.uk/artanddesign/2008/jan/17/art.china

Susie Rushton, The Independent http://www.independent.co.uk/arts-entertainment/art/reviews/captain-moonlight-a-new-exhibition-of-darren-almonds-ethereal-nocturnal-images-is-about-to-open-at-white-cube-770712.html

Erica MacArthur, Art Review http://www.artreview.com/forum/topic/show?id=1474022%3ATopic%3A118657

Gareth Scurlock, The Times http://www.timesonline.co.uk/tol/travel/travel_images/article3162395.ece

References[link]

External links[link]

• Darren Almond at the Matthew Marks Gallery
• White Cube: Darren Almond
• Galerie Max Hetzler: Darren Almond
• Parasol unit: Darren Almond
• K21: Darren Almond
• Adrien Searle review (01/2008)
• KultureFlash interview (11/2005)
• Darren Almond at Fondazione Nicola Trussardi