Opening Dec 14th for 5 days
FaceValueKPF, a group show
The Strand Gallery
curated by Gary Mansfield, including the work of:
Ray Richardson, Sarah Lucas, Gavin Turk, Vic Reeves, Marcus Harvey, Lee Ainsworth, Ben Oakley, Gary Mansfield , Martin Creed, Courty, David Bray, Jessica Albarn, Laura Keeble, Wendy Mayer, Noel Fielding, Carrie Reichardt, Nicola Green, STATIC, Eddy Parnell, Sarah Maple, Michelle Mildenhall, Cathy Lomax, Claire Partington, Lewis Bannister, Faisal Abdu’Allah, Candice Tripp, Elizabeth Waggett, Guy Denning and the Chapman Brothers
Gary Mansfield has collaborated with some of Britain’s finest artists to create FaceValueKPF with the intention of confronting identity new & old and the value society places on both.
Each artwork featured in FaceValueKPF is a metaphor for a person who’s visual identity has been altered. Each piece is unique to this show and has been physically manipulated, by a third party, changing its visual identity to various extents.
Every donated artwork is for sale and has been given the artists’ original face value price from as little as £10 to £18,000. You may believe a forced change of visual identity detracts from the original worth or just makes it more unique , either way you can bid here.
“Too many lives have been marred by horrific accidents or deliberate attacks that have changed the way they look. I hope this exhibition will generate not only awareness about the issues people face after suffering scars or burns, but also much needed funds in aid of The Katie Piper Foundation”
100% of the proceeds of the FaceValueKPF exhibition are going directly to The Katie Piper Foundation, a charity whose vision is to have a world where scars do not limit a person’s function, social inclusion or sense of well being.
— I sent a Sally Doll, of course.
Resin, presented in glass display dome
Man and Bear
Back in the run up to the Into The Dark show, David Bilbrough from Unit-44 came by and took some photos of what I was working on.
It’s suddenly relevant given that I’m Never Shopping Here Again opens next week and some of its contents are featured, what-what.
So here you go; a photo to give you an idea of how Giles and I are trying to take our respective dimensions of choice and stitch them together before rebounding off on our own separate making-endeavours.
I’ve tried (like maybe 28 times) to write about the show and what we’re putting into it (clue: no head hair, although I’ve lost the great majority of mine trying to meet the deadline) but it all just sounds a bit shit (the writing. Not the art). Also, it makes for such bad reading “art and stuff and more!”
What I can say is that I’m not even near ready, but having seen a few of Giles’ pieces in progress, I’m excited to the point that my own personal panic-dread is an afterthought, like this free-floating emotion that has my stomach clenching without any of the conscious thought for the cause of my gut’s distress. Like white noise.
The point is, I’m not going to try to describe it. I’ll fuck it up.
Anyway, the important bits:
Presented by Black Rat Projects
I’m Never Shopping Here Again – Giles Walker & Candice Tripp
Opening nights 28th & 29th of November – due to venue capacity we’ll be taking bookings for the opening nights. For updates on when booking opens, please sign up to my or Black Rat’s mailing list.
It’s a free event.
Open to the public 30 November – 12 December
Mon – Sat: 12 – 6pm
Sun: 12 – 4pm
137 – 139 Lower Marsh Street
All UK print orders placed by 2pm on December 21st will be posted in time to arrive by Christmas.
Opening December 15th at Corey Helford Gallery is Crucifixion, a group show “exploring the Interpretation of the Iconic and Narrative impact of the Crucifixion of Christ”
My ten cents is below, titled “Just Ignore Them And Keep Walking”
oil and ink on canvas
36″ x 36″
Contributing artists include Glenn Barr, Ray Caesar, Victor Castillo, Ron English, Natalia Fabia, Korin Faught, Sarah Folkman, Nancy Fouts, Eric Joyner, Benjamin Bryce Kelley, Maria Kreyn, Marco Mazzoni, Buff Monster, Annie Owens, Michael Page, Chris Pugliese, Amy Sol, Mark Dean Veca, and Nicola Verlato.
Corey Helford Gallery
8522 Washington Blvd. , Culver City, CA, 90232, United States
Ideal Brown thought to take some photos of the opening night. They mostly reflect how goddamned busy it was. Mostly. For that reason I’ve not got many photos of the curiosities themselves, however I think if they were to be done any justice, it would be best to see them in person if at all possible.
It’s a staggering collection that I’m so pleased to be part of.
More exhibitions like this, please. In fact, I’d rather it just didn’t end.
If for no other reason, go and have a look at Giles Walker and Butch Anthony’s work. It will blow your pip. It did mine.
On until Christmas at
15 Bateman Street
I didn’t know much at all about Blake Lively’s art collection until yesterday, when I saw this Artlog post on Twitter. It’s so cool to see that she collects according to taste, regardless of how established an artist is.
It takes a collector with balls to do that*
*cue raging argument about art vs money and whether your purchase is swayed by investment value over buying something potentially worthless that you adore all the same.
As predicted, my registration was out. Typically, the first two colours were fine (fine enough, I declare, for a first-timer) The third was a laugh.
The result reminds me of cheaply made children’s picture books from the 40’s, which is a look I happen to like, so things worked out okay. I don’t however, enjoy bullshiting myself so a perfect print would have been ultimately preferable.
Between Ideal Brown’s printing and my own, we each have an odd set:
3 colour hand-pulled screen prints on irregular paper; 4 on some somerset satin, 3 on an unknown brand of stock,
approximately 29 cm x 39 cm with partially deckled edges,
Edition of 0 given that the artist (sigh) never signed off on any of her proofs. What remains is 7 of each, marked as PPs because I suppose that’s exactly what they are.
After our print course on Saturday, we decided to cycle another 17 miles to Will’s family home in Newton. I think the last 2 miles were actually spent getting from the outer edge to the centre of their sprawling land. It’s pretty and big and pretty. With loads of cows.
Our friends with common sense were already at the lake side cabin (having opted to drive; the pissing rain and rattling wind hitting their cars as opposed to their face/chest/knees). This was good since they could get going with firing up with grill (big plus points to Will and Cal here!)
We were scarcely out of Fenham before we received a short burst of hooting and were signaled to pull over. Two policemen climbed out of their car and I thought “I wonder what they could possibly want” and assumed they were going to be really helpful about something, though I couldn’t fathom what.
Instead, we were reprimanded for running a red light. I cycle ahead of Brown because of my crawling pace and he shouts at my back:
Often helpful things like “don’t forget, it’s your next left!”
Annoyingly obvious things like “If you pull your breaks, you will slow down, so if you want to stop you must pull your breaks, because if you slow down you will eventually stop”
And oddities like “Go, Candy. It’s a green man anyway”
I’m an obedient monkey, so I GO if I’m told to. Also, a conversation about what I should and shouldn’t be doing in traffic is a fast route to spontaneous combustion, so I’d rather argue/question (and mostly thank) later.
So we had the police, a quick burst of driving rain and then plain sailing.
I arrived. I showered. I gorged. I fell asleep. The life and soul of the party; that’s me.
It’s a wonder I even awoke the following day; we slept in Will’s grandmother’s house and it was bliss. Her bathroom is so clean, you wonder if it just got redone. I could clean for ten years and my bathroom would never be as shiny.
*sigh* I want to go to there.
That last image is what you see when you wake up on West Side Farm.
And THEN we somehow missed the big cabin clean-up, but bumped into Sue (Will’s mom) who fed us before we set off back home again. It was ACE.