3 July 2014 – 14 September 2014
Barbican Centre, Silk St, London EC2Y 8DS, UK
Digital Revolution is the most comprehensive presentation of digital creativity ever to be staged in the UK.
This immersive and interactive exhibition brings together for the first time a range of artists, filmmakers, architects, designers, musicians and game developers, pushing the boundaries of their fields using digital media. It also looks at the dynamic developments in the areas of creative coding and DIY culture and the exciting creative possibilities offered by augmented reality, artificial intelligence, wearable technologies and 3-D printing.
The exhibition includes new commissions from artists Umbrellium (Usman Haque and Nitipak 'Dot' Samsen) and Universal Everything; musician and entertainer will.i.am, Dev/Art, a major new collaboration with Google exploring creative coding. The show also features work by Oscar-winning VFX Supervisor Paul Franklin and his team at Double Negative for Christopher Nolan’s groundbreaking film Inception; artists and performers including Rafael Lozano-Hemmer, Chris Milk, Aaron Koblin, Fred Deakin & Company, Amon Tobin and Philip Glass; and game developers including Harmonix Music Systems (Dance Central).
|25||William J. O’Brien|
William J. O’Brien
25 January – 18 May 2014
220 East Chicago Ave, Chicago, IL 60611
William J. O’Brien, the artist’s first comprehensive museum exhibition, demonstrates his prolific output in a broad range of media, from sculpture and ceramics to drawing, textiles, and painting. Although O’Brien is perhaps best known for his work in ceramics, his working process often begins with the act of drawing. His works on paper usually feature exuberant colors and geometric patterning that mimic the automatic drawings of the Surrealists while faintly evoking psychedelia and dream paintings. His ceramics are playfully formed, often drizzled with vividly colored glazes, and exhibit a range of cultural references, from ethnographic objects of the ancient past to “face jugs” of the antebellum American South. His paintings are accumulations of pigment, fabric, string, and other materials that appear to droop toward the floor, and his sculptures of tenuously attached die-cut shapes, while stiff and upright, seem to create more negative space than positive forms. Altogether O’Brien’s work evidences the artist’s easy absorption of a broad range of narratives—art historical, ethnographic, spiritual, pop, poetic—as well as his singular ability to create objects that appear as distinctly enigmatic as they are aesthetically coherent.
Stemming from O’Brien’s interest in language and poetry, the exhibition is organized like a poem. It is divided into several sections, or stanzas, with each section featuring works in several media to underscore the connections between disparate objects as well as the artist’s interest in scale. The stanzas demonstrate how each of O’Brien’s artworks is a carefully calibrated exercise in improvisation and control. Above all, the exhibition develops new language around O’Brien’s contemporary abstract artworks—language that focuses on process rather than individual expression or technique and that considers his body of work as a reflection of a multitude of cultural sources.
|20||Beautiful Science: Picturing Data, Inspiring Insight|
Beautiful Science: Picturing Data, Inspiring Insight
20 February – 26 May 2014
The British Library, 96 Euston Road, London, NW1 2DB
Turning numbers into pictures that tell important stories and reveal the meaning held within is an essential part of what it means to be a scientist. This is as true in today's era of genome sequencing and climate models as it was in the 19th century.
Beautiful Science explores how our understanding of ourselves and our planet has evolved alongside our ability to represent, graph and map the mass data of the time.
From John Snow's plotting of the 1854 London cholera infections on a map to colourful depictions of the tree of life, discover how picturing scientific data provides new insight into our lives.
|17||The ABC of It: Why Children's Books Matter|
The ABC of It: Why Children's Books Matter
Until 7 September 2014
Stephen A. Schwarzman Building, Fifth Avenue at 42nd Street, New York, NY 10018-2788
The ABC of It is an examination of why children’s books are important: what and how they teach children, and what they reveal about the societies that produced them. Through a dynamic array of objects and activities, the exhibition celebrates the extraordinary richness, artistry, and diversity of children’s literature across cultures and time.
Our first books stir and shape us as few books ever again can. Goodnight Moon! Alice in Wonderland! A Wrinkle in Time! For three centuries and more, books made especially with the young in mind have served as indispensible gateways to literature, art, and knowledge of the world. And if, as adults,we find that our own childhood favorites remain as thrilling or funny or heart-stoppingly beautiful as ever, we should not be surprised. As W. H. Auden wisely observed: “There are no good books which are only for children.”
Today’s brightly packaged, increasingly globalized books for young people have complex roots in world folklore, Enlightenment philosophy, nationalist fervor, and the pictorial narrative traditions of Asian and Western art, among other sources. Collectively, they form a vivid record of literate society’s changing hopes and dreams, and of the never-ending challenge of communicating with young readers in the most compelling possible way.
|17||KINO/FILM: SOVIET POSTERS OF THE SILENT SCREEN|
KINO/FILM: SOVIET POSTERS OF THE SILENT SCREEN
17 January 2014 — 29 March 2014
3–4a Little Portland Street London W1W 7JB
GRAD: Gallery for Russian Arts and Design in collaboration with Antikbar is pleased to present ‘Kino/Film: Soviet Posters of the Silent Screen’. As the UK/Russia year of culture begins, this exciting exhibition examines the golden age of Soviet film posters and is co-curated by Elena Sudakova, director of GRAD, and film critic and art historian Lutz Becker.
The 1920s saw the advent of new and radical graphic design created to advertise silent films across the Soviet Union. Film posters of this era have become masterpieces in their own right, produced at a time when innovative on-screen techniques were being incorporated into the design of advertisements. Some 30 works by the brothers Georgii and Vladimir Stenberg, Yakov Ruklevsky, Aleksandr Naumov, Mikhail Dlugach and Nikolai Prusakov, are on display.
15 January 2014 – 23 March 2014
Whitechapel Gallery , 77–82 Whitechapel, High Street, London, E1 7QX
The first UK retrospective of works on paper by internationally renowned German Dadist Hannah Höch (1889 – 1978). Bringing together over 100 works dating from the 1910s to the 1970s, this exhibition illustrates how Höch established collage as the artistic medium of choice for satire whilst being a master of its poetic beauty.
Höch created some of the most radical works of the time and was admired by contemporaries such as George Grosz, Theo van Doesburg and Kurt Schwitters, yet she was often overlooked by traditional art history. At a time when her work has never seemed more relevant, the exhibition puts this inspiring figure in the spotlight.
|12||Japanese Poster Artists|
Japanese Poster Artists
12 February – 25 May 2014
Museum für Gestaltung Zürich, Ausstellungsstrasse 60, CH-8005, Zürich
Japan fascinates with a unique poster culture. Its subtle poetry, mystical messages and glowing colors are just as captivating for the Western eye as the cheeky provocation and rejection of all the accepted rules of visual communication. The exhibition, intended as a cultural contribution to the 150th anniversary of the establishment of diplomatic relations between Japan and Switzerland, presents the history of the poster in Japan, where this medium is primarily known as an artistic statement and image advertising. Works by three old masters, Shigeo Fukuda, Kazumasa Nagai and Ikko Tanaka – from a generous donation to the museum – are to be seen alongside posters from 1950 to the present day. Here the special aesthetic of Japanese graphic designs reflects the dialogue between Eastern and Western visual culture.
|29||Stanley Donwood: Hollywood Dooom|
Stanley Donwood: Hollywood Dooom
29 November 2013 – 02 March 2014
Café bar, Chapter Arts Centre, behind Cowbridge Road East, between Llandaff Road and Market Road, Cardiff, Wales, UK
Stanley Donwood’s practice veers from propagandist graphics to introspective illustrations and paintings. Hollywood Dooom depicts the renowned LA landscape being engulfed by fire, flood
and meteor storm with the iconic Hollywood sign moments away from being submerged by the
Inspired by the aesthetics of the woodcut illustrations found in the 15th century publication Nuremberg Chronicle, Donwood hand carves his doomsday scenarios into linoleum which is then hand burnished onto Japanese Kozo paper, a durable fibrous paper first developed in Japan over 1,300 years ago.This recent body of work has developed from themes and subjects similar to Donwood’s 2006 work titled ‘London Views’, which began after being shaken by the Indian Ocean tsunami that claimed more than 229,000 lives. His original drawings evolved from being visual recordings of the destruction into reflections on the ecological consequences of contemporary lifestyle.
|23||Agnes Denes: Work 1967 – 2013
Agnes Denes: Work 1967 – 2013
23 November 2013 – 9 March 2014
firstsite, Lewis Gardens, High Street, Colchester, Essex CO1 1JH
firstsite presents a retrospective exhibition of drawing, prints and sculpture by the New York-based artist, Agnes Denes. This will be the first major survey of the artist's work in Western Europe and her first solo exhibition in the UK since 1979.
Since the late 1960s, Agnes Denes has combined a conceptual approach to drawing and printmaking with pioneering interventions in the natural and urban environment. Her work addresses a range of concerns and influences from philosophy, mathematics and science to environmental issues and sexual politics.
This exhibition includes a selection of over 50 drawings and prints from four major series of work undertaken by the artist from the late 1960s to the present day. These are presented alongside photographs and other documents from Denes' major sculptural projects from this period. Of key importance is Wheatfield - A Confrontation (1982), which saw the artist cultivate and harvest a crop of wheat on two acres of land in downtown Manhattan, New York.
|08||TYPE/DYNAMICS: JURRIAAN SCHROFER/LUST|
TYPE/DYNAMICS: JURRIAAN SCHROFER/LUST
8 November 2013 – 4 March 2014
Stedelijk Museum Amsterdam, Museumplein 10, 1071 DJ Amsterdam
This exhibition is inspired by the publication of the doctoral thesis by Frederike Huygen on the graphic designer, photo-book pioneer, art director, teacher, arts administrator, and environmental artist Jurriaan Schrofer.
The Stedelijk Museum invited LUST, a multidisciplinary graphic design practice based in The Hague, to take part in the exhibition because of their expertise in presenting graphic design presentations with nontraditional media. LUST was asked to use cutting-edge media to create an installation that plays off, reacts to, and dialogues with Schrofer’s work. The visual dynamic of Schrofer’s typographic art suggests that his designs were created on the computer but they predate the digital era: Schrofer designed everything by hand. For LUST, though, the computer is an indispensable tool; they derive inspiration from exploring the possibilities of design for new media and technologies.
|05||Designing Modern Women 1890–1990|
Designing Modern Women 1890–1990
5 October 2013 – 5 October 2014
The Museum of Modern Art, 11 West 53 Street, New York, NY 10019-5497
Modern design of the twentieth century was profoundly shaped and enhanced by the creativity of women as muses of modernity and shapers of new ways of living, and as designers, patrons, performers and educators. This installation, drawn entirely from MoMA's collection, celebrates the diversity and vitality of individual artists’ engagement in the modern world, from Loïe Fuller’s pulsating turn-of-the-century performances to April Greiman's 1980s computer-generated graphics, at the vanguard of early digital design. Highlights include the first display of a newly conserved kitchen by Charlotte Perriand with Le Corbusier (1952) from the Unité d'Habitation housing project, furniture and designs by Lilly Reich, Eileen Gray, Eva Zeisel, Ray Eames, Lella Vignelli, and Denise Scott Brown; textiles by Anni Albers and Eszter Haraszty; ceramics by Lucy Rie; a display of 1960s psychedelic concert posters by graphic designer Bonnie Maclean, and a never-before-seen selection of posters and graphic material from the punk era. The gallery's ‘graphics corner’ first explores the changing role and visual imagery of The New Woman through a selection of posters created between 1890 and 1938; in April 2014 the focus will shift to Women at War, an examination of the iconography and varied roles of women in times of conflict, commemorating the centennial of the outbreak of World War I.