January 2011
artBahrain Online Gallery
...where unseen masterpieces is just a click away!
ArtGuide - Museum
London - January
About the Royal Academy of Arts
The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and appreciation of the visual arts through exhibitions, education and debate.
History
The Academy was founded by George III in 1768. The 34 founding Members were a group of prominent artists and architects including Sir Joshua Reynolds and Sir William Chambers who were determined to achieve professional standing for British art and architecture. They also wanted to provide a venue for exhibitions that would be open to the public; and to establish a school of art through which their skills and knowledge could be passed to future generations of practitioners.
The Academy today continues to aspire, in the words of its eighteenth-century founders, ‘to promote the arts of design’, that is: to present a broad range of visual art to the widest possible audience; to stimulate debate, understanding and creation through education; and to provide a focus for the interests of artists and art-lovers. The Academy has held an annual Summer Exhibition of works for sale since its formation and its first loan exhibition was held in 1870. The Academy now enjoys an unrivalled reputation as a venue for exhibitions of international importance.
Organisation
The Academy is an independent institution. The Academicians are all practising painters, sculptors, engravers, printmakers, draughtsmen and architects and are elected by their peers. There are up to 80 Academicians and a number of Senior Academicians who are over 75. The current President of the Academy is Sir Nicholas Grimshaw, an architect. He is the 25th President in a period of 241 years. Past Royal Academicians include John Constable, Thomas Gainsborough, JMW Turner, Lord Leighton and Stanley Spencer, while current Members include Norman Foster, Richard Rogers, David Hockney, Tracey Emin, Antony Gormley and Anish Kapoor.
The Academy is governed by a Council selected by rotation from the Academicians, and includes the four principal Officers of the Royal Academy - the President, Keeper, Treasurer and the Secretary and Chief Executive, all of whom attend Council ex officio. In addition, following a review of governance in 2007, there can now be three co-opted outside members of Council, currently including John Coombe, the former Finance Director of GSK and Lord Justice Moses. Alongside Council, the Royal Academy Trust, chaired by The Hon Richard S Sharp, looks after the endowment and assists with fund-raising.
The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and appreciation of the visual arts through exhibitions, education and debate.
History
The Academy was founded by George III in 1768. The 34 founding Members were a group of prominent artists and architects including Sir Joshua Reynolds and Sir William Chambers who were determined to achieve professional standing for British art and architecture. They also wanted to provide a venue for exhibitions that would be open to the public; and to establish a school of art through which their skills and knowledge could be passed to future generations of practitioners.
The Academy today continues to aspire, in the words of its eighteenth-century founders, ‘to promote the arts of design’, that is: to present a broad range of visual art to the widest possible audience; to stimulate debate, understanding and creation through education; and to provide a focus for the interests of artists and art-lovers. The Academy has held an annual Summer Exhibition of works for sale since its formation and its first loan exhibition was held in 1870. The Academy now enjoys an unrivalled reputation as a venue for exhibitions of international importance.
Organisation
The Academy is an independent institution. The Academicians are all practising painters, sculptors, engravers, printmakers, draughtsmen and architects and are elected by their peers. There are up to 80 Academicians and a number of Senior Academicians who are over 75. The current President of the Academy is Sir Nicholas Grimshaw, an architect. He is the 25th President in a period of 241 years. Past Royal Academicians include John Constable, Thomas Gainsborough, JMW Turner, Lord Leighton and Stanley Spencer, while current Members include Norman Foster, Richard Rogers, David Hockney, Tracey Emin, Antony Gormley and Anish Kapoor.
The Academy is governed by a Council selected by rotation from the Academicians, and includes the four principal Officers of the Royal Academy - the President, Keeper, Treasurer and the Secretary and Chief Executive, all of whom attend Council ex officio. In addition, following a review of governance in 2007, there can now be three co-opted outside members of Council, currently including John Coombe, the former Finance Director of GSK and Lord Justice Moses. Alongside Council, the Royal Academy Trust, chaired by The Hon Richard S Sharp, looks after the endowment and assists with fund-raising.
THE THIRD season of GSK Contemporary – Aware: Art Fashion Identity focuses on how artists and a number of designers examine clothing as a mechanism to communicate and reveal elements of our identity. The exhibition contains work by 30 international contemporary practitioners including Marina Abramovic, Acconci Studio, Azra Akšamija, Maja Bajevic, Handan Börüteçene, Hussein Chalayan, Alicia Framis, Meschac Gaba, Marie-Ange Guilleminot, Andreas Gursky, Mella Jaarsma, Kimsooja, Claudia Losi, Susie MacMurray, Marcello Maloberti, La Maison Martin Margiela, Alexander McQueen, Yoko Ono, Maria Papadimitriou, Grayson Perry, Dai Rees, Katerina šedá, Cindy Sherman, Hon RA, Yinka Shonibare MBE, Helen Storey, Rosemarie Trockel, Sharif Waked, Gillian Wearing RA, Yohji Yamamoto and Andrea Zittel.
New work by Yinka Shonibare MBE and Hussein Chalayan, commissioned especially for Aware by London College of Fashion and the Royal Academy of Arts, is on display. Hussein Chalayan presents a new dress inspired by the 300 year old Japanese tradition of Bunraku puppet theatre while Yinka Shonibare MBE worked with bespoke tailor Chris Stevens on creating 18 designs, based on 19th-century children’s dress, which have been
assembled to form a wall mural.
Occupying the main galleries of the Royal Academy’s 6 Burlington Gardens building, Aware is divided into four sections. Storytelling acknowledges the role of clothing in the representation of personal and cultural history.
Grayson Perry’s Artist’s Robe, 2004, an elaborate, appliquéd coat made of a patchwork of luxurious fabrics, is a commentary on the figure and status of the artist in the world today.
Building covers the concept of clothing being used as a form of protection and the notion of carrying one’s own shelter, referencing the nomadic, portable nature of modern life. On display is Shelter Me 1, 2005 by Mella Jaarsma who parallels garment and architectural constructions in her work. Jaarsma defines shelter as the minimal construction needed for protection, not yet the shape of a house, but directly related to the proportions of the human body.
Belonging and Confronting examines ideas of nationality as well as displacement and political and social confrontation, recognising the tensions associated with the assimilation of new cultures and traditions. In Palestinian artist Sharif Waked’s video installation, Chic Point, 2003, the contradictory interpretations of revealing flesh as a fashion prerogative or as a humiliation juxtapose two worlds, one of high fashion and the other of semi-imprisonment.
The importance of Performance in the presentation of fashion and clothing, and in highlighting the roles that we play in our daily life, are explored in the final section. Film footage of Yoko Ono’s performance of Cut Piece at Carnegie Recital Hall, New York in 1965, for which the artist invited the public to cut strips from her clothing is featured. While the scraps of fabric fall to the floor, the unveiling of the female body suggests the total destruction of the barriers imposed by convention.
Aware reflects upon the relationship between our physical covering and constructed personal environments, our individual and social identities and the contexts in which we live. As a mechanism of expression, the exploration of the role of clothing has been at the heart of the artistic practice of a number of contemporary artists, and has particular resonance for those attuned to the social situations of their times. Whilst frequently fulfilling a practical and occasionally protective function, clothing can be effective in celebrating or suppressing identity and in indicating allegiances.
It has the ability to express our way of life and even our unconscious, communicating our positions, aspirations and desires.
“The Royal Academy of Arts is delighted to be working with GlaxoSmithKline again on bringing contemporary art to Burlington Gardens. This is the first time we have held a major exhibition on how contemporary artists and designers have turned to clothing as a medium to explore issues beyond fashion such as identity, nationality, displacement and conflict."
Charles Saumarez Smith, Secretary & Chief Executive, Royal Academy of Arts
“The continued success of the partnership between GSK and the Royal Academy is testament to the creativity and innovation behind the exhibitions. As a company we are committed to transforming lives whilst balancing the demands of our employees, shareholders and the wider society in which we operate and serve. Contributing to the arts remains an integral part of this effort and we look forward to a stimulating and engaging third season of GSK Contemporary."
Katie Pinnock, Director UK Corporate Contributions, GlaxoSmithKline
London College of Fashion is a partner in the development of the project, supporting two commissions, a symposium and a series of Salon Talks which will take place in the sketch on-site café and include speakers such as Yinka Shonibare MBE and Helen Storey. The talks programme will explore themes provoked by Aware and is supported by Bastyan.
The concept for the exhibition was developed by the independent curator Gabi Scardi with artist Lucy Orta, and the exhibition is co-curated by Kathleen Soriano and Edith Devaney, from the Royal Academy.
The exhibition is accompanied by a fully illustrated paperback catalogue, published by Damiani.
New work by Yinka Shonibare MBE and Hussein Chalayan, commissioned especially for Aware by London College of Fashion and the Royal Academy of Arts, is on display. Hussein Chalayan presents a new dress inspired by the 300 year old Japanese tradition of Bunraku puppet theatre while Yinka Shonibare MBE worked with bespoke tailor Chris Stevens on creating 18 designs, based on 19th-century children’s dress, which have been
assembled to form a wall mural.
Occupying the main galleries of the Royal Academy’s 6 Burlington Gardens building, Aware is divided into four sections. Storytelling acknowledges the role of clothing in the representation of personal and cultural history.
Grayson Perry’s Artist’s Robe, 2004, an elaborate, appliquéd coat made of a patchwork of luxurious fabrics, is a commentary on the figure and status of the artist in the world today.
Building covers the concept of clothing being used as a form of protection and the notion of carrying one’s own shelter, referencing the nomadic, portable nature of modern life. On display is Shelter Me 1, 2005 by Mella Jaarsma who parallels garment and architectural constructions in her work. Jaarsma defines shelter as the minimal construction needed for protection, not yet the shape of a house, but directly related to the proportions of the human body.
Belonging and Confronting examines ideas of nationality as well as displacement and political and social confrontation, recognising the tensions associated with the assimilation of new cultures and traditions. In Palestinian artist Sharif Waked’s video installation, Chic Point, 2003, the contradictory interpretations of revealing flesh as a fashion prerogative or as a humiliation juxtapose two worlds, one of high fashion and the other of semi-imprisonment.
The importance of Performance in the presentation of fashion and clothing, and in highlighting the roles that we play in our daily life, are explored in the final section. Film footage of Yoko Ono’s performance of Cut Piece at Carnegie Recital Hall, New York in 1965, for which the artist invited the public to cut strips from her clothing is featured. While the scraps of fabric fall to the floor, the unveiling of the female body suggests the total destruction of the barriers imposed by convention.
Aware reflects upon the relationship between our physical covering and constructed personal environments, our individual and social identities and the contexts in which we live. As a mechanism of expression, the exploration of the role of clothing has been at the heart of the artistic practice of a number of contemporary artists, and has particular resonance for those attuned to the social situations of their times. Whilst frequently fulfilling a practical and occasionally protective function, clothing can be effective in celebrating or suppressing identity and in indicating allegiances.
It has the ability to express our way of life and even our unconscious, communicating our positions, aspirations and desires.
“The Royal Academy of Arts is delighted to be working with GlaxoSmithKline again on bringing contemporary art to Burlington Gardens. This is the first time we have held a major exhibition on how contemporary artists and designers have turned to clothing as a medium to explore issues beyond fashion such as identity, nationality, displacement and conflict."
Charles Saumarez Smith, Secretary & Chief Executive, Royal Academy of Arts
“The continued success of the partnership between GSK and the Royal Academy is testament to the creativity and innovation behind the exhibitions. As a company we are committed to transforming lives whilst balancing the demands of our employees, shareholders and the wider society in which we operate and serve. Contributing to the arts remains an integral part of this effort and we look forward to a stimulating and engaging third season of GSK Contemporary."
Katie Pinnock, Director UK Corporate Contributions, GlaxoSmithKline
London College of Fashion is a partner in the development of the project, supporting two commissions, a symposium and a series of Salon Talks which will take place in the sketch on-site café and include speakers such as Yinka Shonibare MBE and Helen Storey. The talks programme will explore themes provoked by Aware and is supported by Bastyan.
The concept for the exhibition was developed by the independent curator Gabi Scardi with artist Lucy Orta, and the exhibition is co-curated by Kathleen Soriano and Edith Devaney, from the Royal Academy.
The exhibition is accompanied by a fully illustrated paperback catalogue, published by Damiani.
GSK Contemporary - Aware: Art Fashion Identity
6 Burlington Gardens - LONDON
until 30 January 2011
6 Burlington Gardens - LONDON
until 30 January 2011
Grayson Perry
Artist's Robe, 2004
Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Royal Academy of Arts, London
Embroidered silk brocade, leather, printed linen and ceramic buttons
179 x 70 cms
© The Artist
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
Artist's Robe, 2004
Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Royal Academy of Arts, London
Embroidered silk brocade, leather, printed linen and ceramic buttons
179 x 70 cms
© The Artist
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Royal Academy of Arts, London)
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
Hussein Chalayan
‘Son’ of Sonzai Suru, 2010
Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Royal Academy of Arts, London
Commissioned by the London College of Fashion and the Royal Academy of Arts
© The Artist
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
‘Son’ of Sonzai Suru, 2010
Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Royal Academy of Arts, London
Commissioned by the London College of Fashion and the Royal Academy of Arts
© The Artist
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
Alicia Framis
100 Ways to Wear a Flag, 2007
Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Royal Academy of Arts, London
Textile, variable dimensions
© The Artist
Photo: Andy Stagg, Courtesy Royal
Academy of Arts, London
100 Ways to Wear a Flag, 2007
Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Royal Academy of Arts, London
Textile, variable dimensions
© The Artist
Photo: Andy Stagg, Courtesy Royal
Academy of Arts, London
Yinka Shonibare
Little Rich Girls, 2010
Installation shot from GSK Contemporary – Aware: Art
Fashion Identity, Royal Academy of Arts, London
Commissioned by the London College of Fashion and the Royal Academy of Arts
© The Artist
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
Little Rich Girls, 2010
Installation shot from GSK Contemporary – Aware: Art
Fashion Identity, Royal Academy of Arts, London
Commissioned by the London College of Fashion and the Royal Academy of Arts
© The Artist
Photo: Andy Stagg, Courtesy Royal Academy of Arts, London
- ArtNews
- Artists' Opportunities
- Awards
- Competitions
- Residencies
- Diary
Are you
looking for
a creative breakthough?
If you are a visual artist or curator looking for an opportunity to realise your project, we may have the answer to
your creative vision.
For more details
contact us on
info@artbahrain.org
looking for
a creative breakthough?
If you are a visual artist or curator looking for an opportunity to realise your project, we may have the answer to
your creative vision.
For more details
contact us on
info@artbahrain.org
Copyright © 2010, artBahrain.org. All rights reserved. Use of this site constitutes agreement with our Terms and Conditions.
Planning your
trip to Art Dubai, Sharjah Biennial
or The Armoury Show?
Book ahead!
Save time
and money!
trip to Art Dubai, Sharjah Biennial
or The Armoury Show?
Book ahead!
Save time
and money!
Join artBahrain.org