between the lines - art plural gallery · 2015. 2. 12. · chimes both with davenport’s assertion...

BETWEEN THE LINES

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Quick, Slow, Quick Quick, Slow… 4-13

Art Selection 14-59

PouredLines:DarkCobaltBlueStudy 15-17

PouredLines:DeepGreen 18-19

PouredLinesStudy:GuardsmanRed 20

GuardsmanRedStudyNo.2 21

PouredLines:TurkishBlueStudy 22-23

PuddlePainting:PrimeII 24-27

PouredLines:IvoryBlackStudy 28-29

PuddlePainting:LightBlueHueStudy 30-31

PuddlePainting:LightBlueHueStudyNo.2 32-35

PuddlePainting:SmallUltramarine(afterVanGogh) 36-37

PuddlePainting:Black(afterLeCorbusier) 38-41

PuddlePainting:Magenta,PurpleStudy 42-43

PuddlePainting:LimeGreen(afterBonnard) 44-45

PuddlePainting:Magenta,Green,Violet,Green 46-47

PuddlePainting:AzureBlue,WindsorViolet 48-51

PuddlePainting:CadmiumYellow,UltramarineViolet(afterBonnard) 52-53

PuddlePainting:Stanza(White,Grey) 54-55

PuddlePainting:Stanza(Grey,White) 56-59

Curriculum Vitae 60-69

Acknowledgements 70-71

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Summary

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Quick, Slow, Quick Quick, Slow… ItwasIanDavenport’sbirthdaythedayIwenttohisstudioinanticipationofpreparingthistext.Wearrangedtomeetearly inthemorningsothathecouldtakeanafternoonwalkinthecountryafterwardsandacelebratorycountrypublunch.IamalwaystakensomewhatbysurpriseatthethoughtofaLondonpointofdepartureforacountrywalk,especiallyonewithinyardsofthebustleofPeckhamHighStreetandfromanartistwhosebodyofworkhasconsistentlybeensitedwithinadiscourseoftheurbanandthestreet.Howevertheconversationthatdaywastobemorethanaramblethroughthevagariesofnatureversustheman-made,thebucolicasopposedtotheurban,butoneofintimacyanddistance,controlandrelinquishment,historyandcontemporaneity,andofthebalancebetweenquickandslow…

ItwasBusterKeatonamongstotherswhoadvocatedthattheinherentkeytocomicsuccessisthecombinationoftragedyandtiming.AndwhilstDavenport’sartisinnowaysimplyirreducibletothecomic,muchseemsbornefromthisconvergence.OntheonehandisDavenport’sincessantpursuitofimbuingthepassageoftimewithintheveryphysicalityofhiswork–“thinkslow,actfast”,Keatononcesaid,andontheotherhiscontinuedintel-lectualwrestlewithwhatmightbeconsideredthetragedyofpainting;theburdenofpaintinghistory,itsresolutemateriality,itsstubbornnesstoconcede.

Allartistsofsignificanceseemtoengender,whetheroftheirownchoosingornot,a‘creationmyth’andDavenportisnoexception.Thewell-documentedmomentof lucidrealisationatGoldsmith’sCollegeinwhichhereturnedtopaintingfollowingaperiodoffrustrationandrespiteinthesculpturedepartment,iscapturedinhisPaint Pot,1988.Itisatautology,self-referential,withaclearnodtoJasperJohns-paintingasobjectandobjectaspaint-ing.Butfortheartisthimselfthepaintingseemstodefineacatharticboundarywhereonereachesthe limitofnearredundancyandabsurdity,untilspillingovertounleashanewwaveofcreativityandpotential–ofthisperiodDavenportalmostdisingenuouslycommented;‘Irealisedthenthatthedumbstuffisreallythesmartstuff’.1

WhilstformallymuchhasbeenmadeofDavenport’sdebtandlineagetoAmericancolour-fieldabstraction,espe-ciallytotheoftenreferencedMorrisLouisandKennethNoland,thetrajectoryoftheseseemingly‘dumb’,absurd-istgestures,intrinsicwithinhispaintingprocesshasoftenbeenunderplayed.InDavenport’s‘creationmyth’Iamremindedfor instanceofasimilarenergythat inspiredthehighly influentialMarcelBroodthaers,whosePense-Bêteof1964markedthemomentofBroodthaers’self-proclaimedarrivalasanartist-amomentoftransgres-sionandartisticepiphany.Oncemore,Broodthaers’descriptionofhisartas‘insincere’2andassimply‘objects’3chimesbothwithDavenport’sassertionofhimselfasmoreasculptorthanapainterandwithhisratherplayfuldescriptionofhispoursofpaintas‘stupidthings’4.

1 SarahWhitfield,‘BeyondtheLimitsoftheLine’,inthecatalogueoftheexhibitionIan Davenport Poured Lines,WaddingtonGalleries, London,2008,p.5.2 MarcelBroodthaers,announcementfortheexhibitionMoi aussi, je me suis demandé si je ne pouvais pas vendre quelque chose…, GalerieSaintLaurent,Brussels,1964,transinMichaelCompton,‘InPraiseoftheSubject’,Marcel Broodthaers,WalkerArtCenter, Minneapolis/Rizzoli,NewYork,1989,p.25.3 Ibid.4 JonathanWatkins,‘OnReflection’,inthecatalogueoftheexhibitionIan Davenport Paintings,DundeeContemporaryArts,Dundee,1999,p.9.

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Suchlanguageishowevermorestrategythanconceit.The‘stupid’thingsthatDavenportalludestoaretheresultofamyriadofunconventionalandatypicalpaintingprocessesthatherituallypushestothepointofmasteryandthenultimateexhaustionandcollapse.Theseprocesseshaveincludedpouring,flipping,drippinganddippingtophysicallymanipulatethematerialqualitiesofthepaint;pouringfromwateringcans,flickingfrompinheadsandusingrotaryelectricfanstocastfinespiderywebsofpaintacrosstheplaneofthepainting.Throughoutallthisexperimentationanddesiretotaketothelimitthenearfutilityofthepaintingprocess,Davenportisdrivenbyagenuineenquiryinwhicharaw,aestheticresponsetotheresultingpaintedobjectisparamountandtheconditionswithinwhichaccidentsmightliterallyhappenareexposed.

ThisapparenttensionbetweenmasteryandaccidentissymptomaticofDavenport’sapproachtopaintingoverthelastfiveyearsorsoinwhichtheadoptionofthesyringeasthepredominantthoughnotexclusivepaintingtoolhasbeenadistinctfactor.TypicallyforDavenportthesyringeitselfcameasachanceencounterandaninspiredmoment,bothliberatingandpragmatic:‘itisincrediblyaccurateatputtingaspecificamountofliquidwhereyouwantittogo’5heoncecommented.AndwhilstDavenport’sfocusrestedontherequiredskillandpoisetocontrolthethinskeinsofpaintdownthepaintingsurface,theresulting‘puddling’asDavenportcallsitatthepainting’sbasehasbecomeasidiosyncraticasthepaintingprocessitself,visuallysymbolicofthedualitybetweencontrolandrelinquishment.

Therehavebeentwodistinctresultingdevelopmentsofsuchsyringeorpuddlepaintingsastheyhavebecomeknownandwhicharepresentedcomprehensivelyinthiscurrentexhibition.Inthefirstinstance,givenDavenport’sexquisite control of the applicationofpaint, agreater spacehasopened for theconsiderationof colouroverform.Inaddition,giventheneedofthepainttoremainfluidandwet-to‘puddle’andto‘pool’-allpaintingsareexecutedatone,non-stopsittingwhichforthelargerpaintingsmaytakebetweeneightandtenhoursatatime.ThisisadistinctcontrasttosomeofDavenport’searlierpaintingsinwhichthesingularityandquicknessofoneaction,onepour,oneflip,onegesture,markedaverydifferentcomprehensionoftime.

WhilstDavenportisnostrangertothisrenewedemphasisoncolour,itmaybearguedthatinthepast,colourhasbeensecondarytothephysicalandsculpturalgestureofthepaintingprocess.ThisisevidentifonelooksatthegradualintroductionofcolourinDavenport’searlyworksofthe90s,inwhichthedisciplineoflargelyworkinginblackandwhite,monochromaticallyorwitharestrictedchoiceoftwoorthreehueshelparticulatemoreemphati-callythestructureofthework.Acknowledgingthe increasedfocusoncolourcompositionthathascomewiththePuddlePaintings,Davenporthascommented;‘Usingasyringeenablesmetocontrolthepaintflowtosuchadegreethatmyfocusisalmostcompletelydevotedtothecoloursequencesinawork’6.InthisrespectthereisanimportantechototheworkofBridgetRileythatoughttobeconsidered,notjustforitsformalconnectivity,butfor

Quick, Slow,Quick Quick, Slow…

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5 SarahWhitfield,‘BeyondtheLimitsoftheLine’,inthecatalogueoftheexhibitionIan Davenport Poured Lines,WaddingtonGalleries, London,2008,p.6.6 FromaninterviewbetweenIanDavenportandMichaelStanley,July2011.

Hans Holbein the Younger, 1497/8-1543Jean de Dinteville and Georges de Selve (‘The Ambassadors’)

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Puddle Painting: Green (after Holbein) 2010Acrylic paint on stainless steel, mounted on aluminium panel123 x 98 cm

thetheoreticalstancethatunderpinsthesharedconcerns.Riley’sprogressionfromtherenownedblackandwhitepaintingsoftheearly60stohergradualadoptionofcolourintheearly70s,similarlyfoundformintheexpansivefieldoftheverticalline.‘Colourenergiesneedavirtuallyneutralvehicleiftheyaretodevelopuninhibitedly’,shesummarisedin1972.‘Therepeatedstripeseemstomeettheseconditions’7.

Buttowhatregisterofcolourdoesanartistturnoncesuchafieldofpossibilityhasopenedbeforethem?WithDavenport,ascouldbeseenwithRiley,thatregisterhasbeenpointednotjusttothepresentbuttothepastandinparticulartoarthistoricalmasterpieces.Davenport’sminingofarthistoryisnothingnew,itwasafteralltheim-pactoftheMasaccioandPierodellaFrancescafrescoesinTuscanythatinspiredhismovetopaintdirectlyontothewallasopposedtothecanvasoraluminiumsupport,apracticefirstseeninhiswallpaintingEverything,2004(p.11),acommissionforWarwickUniversity.Howeverinthisnewseriesofpaintingstheexplicitreferencetosuchhistoricalworksisbroughttothefore,notjustinthetitles;Puddle Painting: Small Ultramarine (after Van Gogh)(p.37),Puddle Painting: Green (after Holbein),Puddle Painting: Black (after Le Corbusier)(p.39)butemphaticallyinthevisualcolourfieldsthatthesedenote.Puddle Painting: Green (after Holbein),2010forinstancecomprisesDavenport’ssignaturesyringepoursdownthepaintingsurface,yetthecolourchoiceisinformedbyafixedframeof reference; that of theoriginal painting itself –HansHolbein theYounger’sThe Ambassadors, 1533,whichDavenportfrequentlyvisitsattheNationalGallery.ItisnotanoverlyfaithfulordoggedlyscientificapproachthatDavenportadopts,insteadhescansthepaintingsurface,oftenwiththeaidofhigh-resolutioncomputerimagerytoselectvariouscoloursashemovesfromlefttorightacrossthesurfaceofthepainting.UncannilythepaintingsimplyoozesHolbeinwiththeamorphouspoolingofpaintatthebottomevokingmorethanapassingreferencetoHolbein’sdistortedlyforeshortenedskullatthebaseoftheoriginal.Thetitleoftheworkitselfisonlyafinalaffirma-tiontotheviewerofthegutfamiliaritythatthecomplexandsophisticatedcolourselectionevokes–anemotionalfamiliarityconveyedsimplythroughthecompositionofcolour.ThisisaradicalshiftforDavenportinmanyways,inthepsychologicaljourneyingheprovokesintheviewerfromtheimmediatepointofreferenceofthepaintingtothestoredandintimateimagethatthevieweralreadymentallyholdsforthemselves.ThesamecanalsobesaidoftherecentPuddle Painting: Small Ultramarine (after Van Gogh),2010.Herethevibrantblues,oranges,limesandlemonyellowsevokeanintrinsicandfamiliartenorofVanGoghyetthepaintingisresolutelyofitself.

FormallywhatunitesthispassageofrecentpaintingandhaspreoccupiedDavenport’sstudiopracticeinrecentmonthsisthecolourexperimentationofthepaintedground.OlivegreenprovidesthebaseforPuddle Painting: Green (after Holbein), 2010 whereas Puddle Painting: Small Ultramarine (after Van Gogh), 2010 floats aboveanunapologeticultramarine.And inmanyways thesepaintingsdo ‘float’, theshiftingchange in thecolouredgroundscreateanewlayereddepth inthepaintingsthathithertohasnotbeenevident.SuchworkalsogivesgreaterprominencetotheperformativeactionofDavenport’spainting;thedecisionmakingthattakesplaceas

7 RobertKudielka,‘ChromaticandPlasticInteraction–OnthefunctioningofpictorialcolourintheworkofBridgetRiley’inRobert Kudielka on Bridget Riley Essays and Interviews 1972-2003,Ridinghouse,London,2005,p.156.

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Everything 2004Acrylic paint914 x 1067 cmCommissioned on behalf of the Mead Gallery, University of Warwick by the Contemporary Arts Society Special Collection Scheme with support from the Arts Council of England Lottery Fund.Installed at the University of Warwick

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onecolour isconsciouslybuttedagainstanother. Indeed,whilstmuchhasbeenmadeofDavenport’s loveofmusic–hisdrumkitoccupiesacentralspaceinhisstudio,awaitingpurposefullytobeplayed–thesenewworksarguablyconveywithgreateralacrityavisualportrayalofthe‘architecture’ofmusic;thebasecoloursgivinganalmostaudiblesupporttotherhythmofcolourandmedleysthatareplayedoutonthepaintedsurface.Inad-dition,followingthesameanalogy,Davenport’sinvolvementinthemakingoftheworkbringshimclosertothepositionofconductorthanleadsoloist.Ratherthanbeingliterallyandphysicallyimmersedintheactionashehassooftenbeenhistorically,Davenporttakesonamoreconsideredposition,asmoreawitnesstothemakingofthepaintingsastheyunfoldunderhisguidance.Hisuseofcolourmaybeinterpretedasstrictlyfunctionaltoadegree.ForDavenport,thevalueplacedoneachcolourisnotspecificorsingularlyinherentwithin,butalways‘inrelationto’thecolourthatprecededitortowhatcomesafterwards.

Inthemostrecentofthesepaintingsitisnotjustonecolourgroundthatisusedtosettheemotionaltemperatureofthework,butseveral.Inthemulti-panelledpaintingsverticalbandsofgreen,indigo,magentaandredgiveno-ticeablestructuredespitetheopticalveilingofthepaintedactionaboveandintriguinglywhenlookedatobliquely(ascoincidentallyonedoesatHolbein’sAmbassador’s)thesehuesgaingreaterprominence.ItishoweverwhenDavenportrestrictsthistothecouplingoftwogrounds,asinPuddle Painting: Azure Blue, Windsor Violet, 2012(p.49)thattheinherentdualityseemstotakestrongereffect.Itcouldalsobedescribedmoreastutelyas‘binary’,visuallyevokingarelationshipbetweenthedigitalandtheanaloguethatismorestronglyevidencedinStaggeredLines,Davenport’srecentseriesofworksonpaper,notexhibitedhere.Intheseworks,thereisanovertreferencetobothanaloguemusicalnotationontheonehandandavisualrepresentationofagraphicequalizerontheother,asDavenport’sdiagonalspikesandstaggeredlinesofcolourgiveheightenedopticalanimation.

TypicallyforDavenport,thisnewbodyofworkdemonstratestheremarkableinventionforwhichhehasbecomewidelycelebrated. It isacyclical, regenerativeprocess inwhichprocessesandmethodologiesareestablishedandwhich,whenseeminglydriventotheverylimit,whenallpossibilitiesextinguished,revealnewdirections,newbeginnings,newpathways…‘Neverend’,Giacomettioncesaid,‘onlybegin’.

MichaelStanleyDirector,ModernArtOxford

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Poured Lines: Dark Cobalt Blue Study 2007Acrylic paint on aluminium panel180 x 150 cm

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Quick,Slow,QuickQuick,Slow…

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Poured Lines: Deep Green 2007Acrylic paint on aluminium panel60 x 50 cm

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Poured Lines Study: Guardsman Red 2008Water-based paints on paper84 x 59.5 cm

Guardsman Red Study No. 2 2008Water-based paints on paper84 x 59.5 cm

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Poured Lines: Turkish Blue Study 2008Water-based paints on paper84 x 59.5 cm

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Puddle Painting: Prime II 2008Acrylic paint on aluminium, mounted on aluminium panel103 x 79 cm

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Poured Lines: Ivory Black Study 2008Water-based paints on paper84 x 59.5 cm

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Puddle Painting: Light Blue Hue Study 2009Acrylic paint on stainless steel, mounted on aluminium panel123 x 98 cm

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Puddle Painting: Light Blue Hue Study No. 2 2009Acrylic paint on stainless steel, mounted on aluminium panel123 x 98 cm

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Puddle Painting: Small Ultramarine (after Van Gogh) 2010Acrylic paint on aluminium, mounted on aluminium panel64 x 51.5 cm

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Puddle Painting: Black (after Le Corbusier) 2010Acrylic paint on stainless steel, mounted on aluminium panel123 x 98 cm

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Puddle Painting: Magenta, Purple Study 2011Acrylic paint on aluminium, mounted on aluminium panel101.5 x 101.5 cm (2 panels)

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Puddle Painting: Lime Green (after Bonnard) 2011Acrylic paint on aluminium, mounted on aluminium panel 103 x 79 cm

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Puddle Painting: Magenta, Green, Violet, Green 2011Acrylic paint on stainless steel, mounted on aluminium panel200 x 200 cm (2 panels)

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Puddle Painting: Azure Blue, Windsor Violet 2012Acrylic paint on stainless steel, mounted on aluminium panels200 x 200 cm (2 panels)

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Puddle Painting: Cadmium Yellow, Ultramarine Violet (after Bonnard) 2012Acrylic paint on stainless steel, mounted on aluminium panels200 x 200 cm (2 panels)

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Puddle Painting: Stanza (White, Grey) 2012Acrylic paint on stainless steel, mounted on aluminium panels200 x 200 cm (2 panels)

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Puddle Painting: Stanza (Grey, White) 2012Acrylic paint on stainless steel, mounted on aluminium panels200 x 200 cm (2 panels)

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61

1966 Born8July,Kent1984-1985 NorthwichCollegeofArtandDesign,Cheshire1985-1988 GoldsmithsCollegeofArt,London(B.A.FineArt) 1991 NominatedforTurnerPrize1996-1997 Commissionedtocreateasite-specificinstallationforBanqueBNPParibasinLondon 1999 PrizewinnerJohnMooresLiverpoolExhibition21 2000 PrizewinnerPremiodelGolfo,LaSpezia,Italy 2002 AwardedfirstprizeProspects(sponsoredbyPizzaExpress),EssorProjectSpace,London 2003 MakesawallpaintingfortheGrouchoClub,London 2004 CommissionedbytheContemporaryArtSocietytomakeawallpaintingforthe DepartmentofMathematicsandStatisticsatWarwickUniversity,Everything RetrospectiveopensatIkon,Birmingham,inSeptember MarriesSueArrowsmith 2006 Poured Lines: Southwark Street,a50by3metrepaintingcommissionedbySouthwarkCounciland

LandSecuritiesaspartofaregenerationprojectinBankside,London,isinstalledunderWesternBridge,SouthwarkStreet,London

CommissionedtodesignalimitededitioncoverfortheSeptemberissueofWallpaper 2007 CommissionedbyTheNewYorkTimesMagazinetocreateanAmericanFlagbasedonanenviron-

mentallyfriendlythemealongwithsevenotherartiststobefeaturedintheir15thAprilissue Davenport’sworkisreproducedonthetitlepageofthearticle‘ThePowerofGreen’ CompletedPouredLines:QUBEBuilding,a2.85by15metrepainting(water-basedpaintonalu-

miniumpanels)commissionedbyDerwentLondonfortheQUBEBuilding,Fitzrovia,London 2010 CommissonedbyWallpapermagazinetoproduceamuralwithMayaRomanofffortheirWallpaper

HandmadeexhibitionatBrioniHQ,Milan,duringSalonedelMobile,alsotobereproducedintheWallpaperHandmadeissuepublishedinJuly

BetweenAprilandMay,completesanartistsinresidenceprogrammeatTheJosefandAnniAlbersFoundationinBethany,Connecticut,USA

LivesandworksinLondon

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Solo Exhibitions

1990 WaddingtonGalleries,London 1992 GalerieLudwig,Krefeld,Germany GalerieMichaelHaas,Berlin GalerieLimmer,Freiburg,Germany PaulKasminGallery,NewYork 1993 WaddingtonGalleries,London 1994 Turner&ByrneGallery,Dallas,Texas 1996 Statements,WaddingtonGalleries,Art27’96,Basel RidinghouseEditions,London WaddingtonGalleries,London 1997 GalerieLimmer,Cologne GalleriaMoncada,Rome 1998 GalerieXippas,Paris 1999 DundeeContemporaryArts PatrickDeBrockGallery,Knokke,Belgium 2000 WaddingtonGalleries,London ProjectSpace,TateLiverpool 2001 TheBoxAssociati,Turin GalerieXippas,Paris GalerieSlewe,Amsterdam 2003 WaddingtonGalleries,London InglebyGallery,Edinburgh 2004 IkonGallery,Birmingham 2005 GalerieSlewe,Amsterdam GalerieXippas,Paris 2006 AlanCristeaGallery,London(prints) 2008 WaddingtonGalleries,London GalleryHakgojae,Seoul,Korea InglebyGallery,Edinburgh 2009 TheAlanCristeaGallery,London(prints) PaulKasminGallery,NewYork WaddingtonGalleries,London 2010 AllerArt,Bludenz,Austria GalerieSlewe,Amsterdam 2011 PavillondesArtsetduDesign,JardindesTuileries,Paris,andGalerieHopkins,Paris WaddingtonCustotGalleries,London AlanCristeaGallery,London

Group Exhibitions

1985 Young Contemporaries,WhitworthArtGallery,Manchester 1988 Freeze,SurreyDocks,London IanDavenport,GaryHume,MichaelLandy,KarstenSchubertGallery,London 1989 Current,SwanseaArtsWorkshop(OldSeamen’sChapel),Swansea West Norwood 1,WestNorwoodRailwayArches(7,8,9),London 1990 The British Art Show,McLellanGalleries,Glasgow;touringtoLeedsCityArtGallery;HaywardGallery,

London Painting Alone,PaceGallery,NewYork1990-1991 Carnet de Voyages - 1,FondationCartierpourl’artContemporain,Jouy-en-Josas,France 1991 British Art from 1930,WaddingtonGalleries,London Metropolis Internationale Kunstausstellung,Martin-GropiusBau,Berlin Broken English,SerpentineGallery,London Ian Davenport, Stephen Ellis, James Nares,PaulKasminGallery,NewYork Abstraction,WaddingtonGalleries,London Turner Prize Exhibition,TateGallery,London New Displays,TateGallery,London GalerieFahnemann,Berlin1991-1992 Confrontaciones: Arte ultimo britanico y espanol,InstitutodelaJuventud,Madrid(incollaboration

withtheBritishCouncil) 1992 The Vertical Flatbed Picture Plane - En Valise,Turner&ByrneGallery,Dallas,Texas Dumb Painting,CentraalMuseum,Utrecht L’Attico,FabioSargentini,Rome Gifts to the Nation: Contemporary Art Society Purchases,CamdenArtsCentre,London1992-1997 New Voices: recent paintings from the British Council collection,BritishCouncilexhibition:tour-

ingtoCentredeConferencesAlbertBorschette,Brussels;EECPresidencyExhibition,Brussels;MuséeNationald’Histoireetd’Art,Luxembourg;IstanbulGreaterCityMunicipalityTaksimArtGal-lery;AnkaraStateFineArtsGallery; IzfasGallery, Izmir,Turkey;SantaMonicaContemporaryArtCentre,Barcelona;MuseodeBellasArtes,Bilbao,Spain;CentroCulturalGalileo,Madrid;Veroni-cas:SaladeExposiciones,Murcia,Spain;PescaderiaVieja:SaladeArte,Jerez,Spain;Kulthurhis-torisches Museum, Magdeburg, Germany; National Theatre Galleries, Bucharest, Romania; ArtHallsoftheCulturalCentreoftheMunicipalityofAthens,Athens;CulturalCentrefortheNationalBank of Greece, Thessaloniki; The Russian Museum, St Petersburg; Kremlin Museum, NizhniiNovgorod, Russia; Mirbachov Palace, Bratislava, Slovakia; The House of the Black Madonna,CzechMuseumofFineArts,Prague;MuseumofModernArt,Skopje,Macedonia

1994 Here and Now,SerpentineGallery,London British Abstract Art Part 1: Painting,FlowersEast,London Summer 94,PaulKasminGallery,NewYork British Painting 1988–1994: a selection from stock,RichardSalmonLtd,London 1995 From Here,WaddingtonGalleriesandKarstenSchubert,London 30 Years of Northern Young Contemporaries,WhitworthArtGallery,Manchester1995-1996 Real Art - A New Modernism: British Reflexive Painters in the 1990s,SouthamptonCityArtGallery;

touringtoStedelijkMuseum,Aalst,Belgium;LeedsCityArtGallery 1996 Nuevas Abstracciones,PalaciodeVelázquez,MuseoNacionalCentrodeArteReinaSofía,Madrid;

touringtoKunsthalleBielefeld,Germany;Museud’ArtContemporani,Barcelona 50 Jahre Kunst- und Museumsverein Wuppertal,KunsthalleBarmen,Wuppertal-Barmen,Germany British Abstract Art Part 3: Works on Paper,FlowersEast,London1996-1997 Ace! Arts Council Collection new purchases,SouthBankCentreexhibitiontouringtoHattonGal-

lery,NewcastleuponTyne;HarrisMuseumandArtGallery,Preston;OldhamArtGallery;HaywardGallery,London;IkonGallery,Birmingham;MappinArtGallery,Sheffield;AngelRowGallery,Not-tingham;OrmeauBathsGallery,Belfast;ArnolfiniGallery,Bristol

1996-1998 About Vision: New British Painting in the 1990s,MuseumofModernArt,Oxford;touringtoTheFruitmarket Gallery, Edinburgh; Wolsey Art Gallery, Ipswich; Laing Art Gallery, Newcastle uponTyne

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1997 Treasure Island,CalousteGulbenkianFoundation,Lisbon Ian Davenport, Michael Craig-Martin, Zebedee Jones, Michael Landy and Fiona Rae,Waddington

Galleries,London Finish,SpacexGallery,Exeter 1998 Elegant Austerity,WaddingtonGalleries,London Up to 2000,SouthamptonCityArtGallery Roberto Caracciolo, Ian Davenport,GalleriaMoncada,Rome 1999 Examining Pictures,WhitechapelArtGallery,London;touringtoMuseumofContemporaryArt,Chi-

cago;ArmandHammerMuseum,LosAngeles A Line in Painting,GalleryFine,London John Moores Liverpool 21,WalkerArtGallery,Liverpool Now Showing II,HouldsworthFineArt,London 21 years of Spacex,SpacexGallery,Exeter 2000 Surface,AnTuireann,IsleofSkye,Scotland Fact & Value,CharlottenborgUdstillingsbygning,Copenhagen,Denmark Profiles of Young European Painting,PremiodelGolfo,LaSpezia,Italy 2001 Complementary Studies: Recent Abstract Painting,HarrisMuseumandArtGallery,Preston Camberwell Artsweek 2001,EgerArchitects,London British Abstract Painting 2001,FlowersEast,London Jerwood Painting Prize,JerwoodGallery,London;touringtoGalleryofModernArt,Glasgow UBS Warburg Exhibition,UBSWarburgatPlanitArches,London 2002 In the Freud Museum,FreudMuseum,London Prospects 2002 Contemporary Drawing Exhibition,EssorProjectSpace,London(sponsoredby

PizzaExpress) Super-Abstr-Action 2,GalerieNoCode,Bologna Inheriting Matisse: The Decorative Contour in Contemporary Art,RocketGallery,London Peintures - contrainte ou recette,GalerieduCloître,Rennes (organisedbyL’EcoledesBeaux-Arts,

Rennes) SleweGalerie,Amsterdam Abstraction,InglebyGallery,Edinburgh John Moores 22,WalkerArtGallery,Liverpool(partoftheLiverpoolBiennial2002) Jerwood Drawing Prize,UniversityofGloucestershire,Cheltenham;touringtootherUKvenuesin-

cludingJerwoodSpace,London Berlin/London/Minimal,GalerieMarkusRichter,Berlin New Commissions,AlanCristeaGallery,London Colour - A Life of Its Own,Mücsarnok,KunsthalleBudapest,Budapest,Hungary 2003 Days Like These: Tate Triennial of Contemporary British Art,TateBritain,London Blanc en Blanc,GalerieXippas,Paris Exodus: between promise and fulfilment,Kettle’sYard,Cambridge Circular,RocketGallery,London Prints Published by the Alan Cristea Gallery,AlanCristeaGallery,London On,XippasGalerie,Athens 2004 Painting as Process: Re-evaluating Painting,EarlLuGallery,LASALLE-SIACollegeoftheArts,Singapore Other Times: Contemporary British Art,CityGallery,Prague(inassociationwiththeBritishCouncil) Post Impact,XippasGallery,Athens John Moores 23,WalkerArtGallery,Liverpool 2005 Who’s Afraid of Red, Yellow, Blue?,InglebyGallery,Edinburgh Minimalism and After IV,DaimlerChryslerContemporary,Berlin Painting: London,GalleryHollySnapp,Venice Ian Davenport, Kaoru Tsunoda,Rachmaninoff’s,London Elements of Abstraction,SouthamptonCityArtGallery 2006 Passion for Paint,Bristol’sCityMuseum&ArtGallery,Bristol;NationalGallery, London;LaingArtGallery,Newcastle Artists + Alchemists,SherborneHouse,Sherborne,Dorset

Compilation 2,RocketGallery,London How to Improve the World: British Art 1946-2006,ArtsCouncilCollection,HaywardGallery,London Concrete Matters,NieuweVideGallery,Haarlem,TheNetherlands Thread,InglebyGallery,Edinburgh Abstract Painting and the University of Warwick Art Collection,MeadGallery,WarwickArtsCentre,

Warwick Monochromed,TheFineArtSociety,London Edition,InglebyGallery,Edinburgh “The hardest thing to draw is a kiss.”WimbledonSchoolofArt,London(curatedbyDavidAusten) Compilation 3,RocketGallery,London2006-2007 You’ll Never Know: Drawing and Random Interference (HaywardGalleryTouringexhibition),Harris

MuseumandArtGallery,Preston;touringwithtoGlynnVivianArtGallery,Swansea;Lowry,Sal-ford;NewArtGallery,Walsall;TullieHouseMuseum,Carlisle

2006-2008 Drawing Breath,TheJerwoodDrawingPrize-SpecialExhibition,WimbledonCollegeofArt,London 2007 Painting in the Noughties,RegionalCulturalArtsCentre,Letterkenny,Co.Donegal The Jerwood Drawing Prize 2007,JerwoodSpace,London Turner Prize A Retrospective 1984-2006,TateBritain,London New Space,AlanCristeaGallery,London(prints) Between the Lines,GalleryHakgojae,Seoul,Korea(prints) A Summer Selection,CraneKalmanGallery,London 2008 Blitzkrieg Bop,Man&EveGallery,London 20 at The Hospital Club,TheHospitalClubGallery,London Weight Watchers,GalerieXippas,Paris New Contemporary Art Displays,TateBritain,London Cover Versions,ErmenegildoZegna,Milan(organizedbyWallpapermagazine) 2009 Contemporary Prints: Including Lichtenstein,Davenport,Opie,AlanCristeaGallery,London Northern Print Biennale,LaingArtGallery,NewcastleuponTyne(prints) Setting the Pattern,KoraalbergContemporaryArt,Antwerp Ian Davenport Michael Craig-Martin Julian Opie: Múltiple,GaleriaEstiarte,Madrid 2010 The Future Demands Your Participation: Contemporary Art from the British Council Collection,Min-

shengArtMuseum,Shanghai Pictures on Pictures: Discursive Painting from Albers to Zobernig from the Daimler Art Collection,

MuseumModernerKunstStiftungLudwig,Vienna Ian Davenport, Mark Francis, Peter Halley and Dan Walsh: Abstract Vision Now,Art+ArtGallery,Moscow Derek Jarman Building,UniversityofKent,Canterbury(prints) Art – curated by Michael Craig-Martin,HaasandFuchs,Berlin Save Us,MacclesfieldVisualArtsFestival John Moores Prize Paintings in Korea,SeongnamArtCentre,Korea Abstraction and Structure,withpaintingsbyIanDavenport,KatharinaGrosse,JoanneGreenbaum,

FrankNitsche,AlbrechtSchnider,EstherStocker,BernhardKnausFineArt,Frankfurt Paintings in Hospitals: Colouring in the Clinical,MenierGallery,London Eleven,AlanCristeaGallery,London(prints) Royal Academy Summer Exhibition,RoyalAcademyofArts,London Process/Abstraction,PaulKasminGallery,NewYork CREAM (Damien Hirst & Contemporaries),KIASMA,MuseumofContemporaryArt,Helsinki FAST FORWARD British Contemporary Art in Brazil,EspaçoDavidFord–BrazillianBritishCentre

Galleries,Pinheiros,Brazil2010-2011 John Moores Contemporary Painting Prize 2010 Exhibition,WalkerArtGallery,Liverpool 2011 Why Patterns?,SleweGallery,Amsterdam I Promise to Love You: Caldic Collection,KunsthalRotterdam Lineage,EdinburghPrintmakers,Edinburgh Gravity’s Rainbow,InglebyGallery,Edinburgh 2012 Means Without Ends,PippyHouldsworthGallery,London Sweethearts,PippyHouldsworthGallery,London

66 67


ArtSelection

Curriculum Vitae

Acknowledgements

Poured Lines: Southwark Street 2006Vitreous enamel on steel panels3 x 48 mCommissioned by Southwark Council and Land Securities and installed under Southwark Street Bridge, London

68 69


ArtSelection

Curriculum Vitae

Acknowledgements

Public Collections

ArtsCouncilCollection,HaywardGallery,London BirminghamCityArtGallery BritishCouncil BorusanArtGallery,Istanbul ContemporaryArtSociety DallasMuseumofArt,Texas FNACFondsNationald’artcontemporain TheGovernmentArtCollection(DepartmentforCultureMediaandSport) MuseumofModernArt,LaSpezia,Italy NationalMuseumofWales,Cardiff SouthamptonCityArtGallery Tate,London Unilever,London UniversityofKent,Canterbury VonderHeydtMuseum,Wuppertal,Germany WeltkunstCollection,Zurich

Commissions

1997 BanqueParibas,London(site-specificinstallation) 2004 MathsandScienceBuilding,UniversityofWarwick,commissionedby theuniversity through its

involvementintheContemporaryArtSociety’slottery-fundedspecialcollectionsproject 2006 Poured Lines: Southwark Street,SouthwarkWesternBridge,London(commissionedbySouthwark

CouncilandLandSecurities) CommissionedbyWallpapermagazinetocreatealimited-editioncoverfortheirSeptemberissueas

partoftheir10th-anniversaryseries 2007 CommissionedbyThe New York TimestocreateanAmericanFlagbasedonanenvironmentally

friendlytheme,tobereproducedintheirissuepublishedon15thApril Poured Lines: QUBE Building,TottenhamCourtRoad,London(commissionedbyDerwentLondon) 2010 CommissonedbyWallpapermagazinetoproduceamuralwithMayaRomanofffortheirWallpaper

HandmadeexhibitionatBrioniHQ,MilanduringSalonedelMobile,alsotobereproducedintheWallpaper HandmadeissuepublishedinJuly

71

Acknowledgements AuthorTextby©MichaelStanley2011ReproducedcourtesyofWaddingtonCustotGalleries,London

ConceptionFrédéricdeSenarclensandCaroledeSenarclens

CoordinationAmeliaRedgriftVijayaKrishnanVeronicaNeoAndreaQuek

GraphicDesignmostra-design.com

PhotoCreditsPrudenceCumingAssociates,London©TheNationalGallery,London,p.6EdwardWebb,p.13

PrintedinSingaporeTimesPrintersPrivateLimited

Editionof1’000copies

Publishedin2012

©theartistandtheauthorISBN978-981-07-2149-7

between the lines - art plural gallery · 2015. 2. 12. · chimes both with davenport’s assertion...

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