Amelia’s Magazine | Tom Foulsham-The Table that can Tell Stories And Other Contraptions

Tom2Man Making Machine © Tom Foulsham

Minnie Weisz’s studio, online a one-storey alcove of delightfully quirky art concealed underneath Kings Cross’s railway arches, is currently harboring the perfect antidote to the last-minute Christmas shopping overdose. Artist, designer, engineer and inventor Tom Foulsham currently exhibits a series of machines that defy easy categorization since his work is a fine blend of sculpture, architecture and installation art. The perfect interaction between all the different parts constitutes the core of elaborate systems that dazzle by their sheer ingenious flair and complexity.

CIMG1402Tom Foulsham Wiggle Table Photograph © Valerie Pezeron

Ron Arad says of him: “ …Tom can actually solve most mechanical problems and realise them against all odds…all sorts of contraptions like a book page-turning device that is activated by the wasting burning candle, and lots of old leather suitcases stuffed with intricate devices that would make Heath Robinson proud.” The Armchair Balance illustrates this best. Especially commissioned for Minnie Weisz’s space, the seamlessly gravity-defying apparatus at times appears to swivel out of control yet remains astonishingly together. I am told it offered entertaining obstacles for visitors at the show’s opening who were forced to approach the laser lights-like tentacles without touching for fear of total structure collapse! The artist used Minnie Weisz’s books to balance his second-hand chair and the final result beggars belief.

CIMG1403Tom Foulsham Arcmhair Balance Photograph © Valerie Pezeron

Foulsham could be the poster boy for that old cliché of the visionary eccentric scientist left to his own device in an antiquated shop full of strange and exciting mechanisms and other contraptions. Born in 1981, Tom Foulsham studied Architecture at the Bartlett and was an architectural assistant at Arad Associates. He went on to study Design Products MA at the Royal College of Art, graduating this summer 2009, under the tutorledge of Ron Arad. He exhibited his ‘ Balancing Shelves’ at Pecha Kucha ICA in 2007. He showed his ‘Candle Balance’ as part of the V&A group exhibition ‘In Praise of Shadows’ in September 2009.

Breathing House Video © Valerie Pezeron

Tom Foulsham’s work is completely capturing the zeitgeist; the art world, like society, is beginning to go full-circle with technology. “ We’re going back to craft,” Minnie Weisz says. “It’s been the digital age where we press a button and we don’t really know how that happens. We’re going back to skill.” Foulsham masterfully manipulates raw, organic and fine materials in a quick and dynamic manner that arch back to older days; built in two weeks for this exhibition, the Man Making machine is reminiscent of the industrial revolution era in its use of soft and fragrant paraffin. The artist enjoys devising spidery contraptions with simple technologies where nothing is hidden. “It’s a fine balancing act,” I am told. “The sculptures are fragile and delicate yet still strong enough for the public to interact with.”

Candle Balance © Tom Foulsham on Vimeo.

“I was always taking things apart and then putting them back together again, making things”, Tom tells me about his boyhood. It all sounds so much better than today’s chair bound assisted computer fun. He must have had a wonderful childhood. Tom agrees, “I was making my own toys, playing around with cardboard boxes and toying with little models and knots and bolts. Once I had worked out how something worked, I knew I could make it 20 times bigger”.

CIMG1407Wiggle Sketch © Paul Benny

Foulsham is a man with great ambitions. The machines/sculptures are also conceived as small-scaled versions of what is to later become life-size or even more colossal. Some of it would work well in front of an industrial museum like the Pompidou centre, I tell him like the Breathing House that is not meant to remain miniature for long. Surprisingly, Foulsham claims Quentin Blake and his “scrappy” style as an influence as well as other balancing sculptures. “My references come from all over the place.” What’s more striking is the sense of play in it all; sculpture as toy from the burnt ephemera of the Man Making Machine to the Wiggle Table. “Tom has quite surreal ideas but packages them to create something that is tangible and that people can have different experiences of. It does not dictate one view of looking and understanding. Yes, it’s scientific. We’ve had many children here who think it’s magic!”

Wiggle Table Video © Valerie Pezeron

The Wiggle Machine is a crowd pleaser and the blockbuster of this exhibition. “Like the Frankenstein of itself”, Foulsham says. He created a new typeface and a new take on the classic machine blue for this multifaceted jiggling box that grabs the current news and blurts out very serious content in a twist. “The Prime Minister says the …” and the vibrations don’t make me take the news seriously at all…The enigma machine, Second World War cockpits and 1960’s computers all spring into mind. “We’ve had séances here” Minnie Weisz says.

Tom1© Tom Foulsham

This exhibition is worth the visit and it’s not everywhere that the artist himself introduces you to his artwork. That is why it’s by appointment only throughout 2010. It is best to call in advance for January, I am told. The gallery is currently in festive mode and has asked the surface designer Pippa Johnson to wrap the gallery arch with a specially commissioned illustration over the windows throughout the holiday period.

Minnie Weisz Studio, Under the Arches, 123 Pancras Road, London NW1 1UN. Tube: King’s Cross.

Categories ,Arad Associates, ,architecture, ,art, ,contemporary art, ,exhibition, ,Exhibition Review, ,Gallery, ,mechanisms, ,Minnie weisz, ,pippa johnson, ,Ron Arad, ,Royal academy of arts, ,science, ,scultpture, ,Tom Foulsham, ,workshops

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Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary LawrenceJerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie BrennanJerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love
Gefallener by Johanna Love.

Untitled 2 by Janine Rook
Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Organic Structure, Animation still by Kasia Depta-Garapich
Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson
Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Tree (catocala) by Ash Summers
Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)

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Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary LawrenceJerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie BrennanJerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love
Gefallener by Johanna Love.

Untitled 2 by Janine Rook
Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Organic Structure, Animation still by Kasia Depta-Garapich
Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson
Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Tree (catocala) by Ash Summers
Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)

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Amelia’s Magazine | Earth at The Royal Academy of Art

GSK5

Mariele Neudecker, ailment ’400 Thousand Generations’, 2009. Steel, fiberglass, water, salt GAC100. 153 x 113 x 55 cm. Courtesy the artist and Galerie Barbara Thumm. Photo courtesy the artist

I love the Royal Academy of Art. It’s a venue that is always a delight to visit and their blockbuster exhibitions are in my view great value for money. It is more fun than job duty to go on behalf of work to visit such shows! Earth: Art of a Changing World ran from the 3rd of December 2009 to the 31 of January 2010 and as I made my way to the RAA, I must admit I was intrigued by the title and did not know what to expect. GSK Contemporary 2009, the second annual Contemporary art season at 6 Burlington gardens, featured new and recent work for 35 leading international contemporary artists, including commissions from up and coming artists.

GSK3

Mona Hatoum, ‘Hot Spot’, 2006. GSK3 Stainless steel and neon tube, 220 x 220 cm. David Roberts Collection, London. Photo Stephen White, courtesy White Cube

With all the recent debate about Climate Change and the world becoming increasingly concerned with the fate of our planet, I guess it’s only fitting that the art world would jump on the bandwagon. What was Tracey Emin doing there being interviewed in front of an embroidered calico she exclusively created for the occasion? Titled I loved you like the Sky, 2009, this was typical Emin’s fare but I couldn’t help but wonder what the artist was doing there; Tracy Emin is more renowned for her appropriation of traditional female crafts than her discourse on the earth’s stability.

GSK6

Edward Burtynsky, ‘Super Pit #4, Kalgoorlie, Western Australia’, 2007. Chromogenic Colour Print. © The artist, courtesy Flowers, London

With hindsight, it was a rather peculiar show with a jumble of many different medias, rather like an overview of how the various offshoots of the arts are currently dealing with issues of sustainability, ecology, the role of the artist in the cycle of human and cultural evolution and so on. Such shows have to try hard to tie it all into an overall visual and experiential aesthetic. Did it work? Yes and no, but I left feeling educated and marked by some of the artwork on displays.

GSK4

Emma Wieslander, ‘Derwentwater I’, 2006. c-type print, 30 x 30 cm. © Emma Wieslander

Call me naïve and it might sound corny to you but I believe art can change the world one little step at a time. I guess you wouldn’t be reading Amelia’s if you did not believe in that too just a little bit. The artists in the sections Destruction and Re-Reality unquestionably have faith in that axiom. In Tracey Moffatt’s mesmerising video collage Doomed, 2007, the viewer is bombarded with spliced-together Hollywood disaster scenes and forced to consider his /her fascination with disaster. The macho behaviour of the upper-middle class Israeli man who owns a 4×4 solely for “sport/play” becomes an exercise in futile nonsense highlighted by Yael Bartana in Kings of the Hill, 2003.

GSK1

Yao Lu, ‘Spring in the City’, 2009. C-Print, 120 x 120 cm. Courtesy of the artist and Red Mansion Foundation

Yao Lus Spring in the City, 2009 was my favourite piece; Lu’s photograph of mounds of rubbish, somewhere between classical ink painting and photography, is a seething critique of the radical upheavals China is experiencing right now. The chard remains of a forest fire form the basis of Cornelia Parker’s Heart of Darkness, 2004, a beautiful installation between 3D charcoal drawing and wood sculpture. She says: ‘this forest fire seemed to be a metaphor for the disastrous consequences of political tinkering. From the hanging chards in the US elections, to the cutting down of rainforests to grow bio fuels to power hummers.’

GSK2

Cornelia Parker, Heart of Darkness (detail), 2004. Charcoal from a Florida Wildfire (prescribed forest burn that got out of control). 3.23 x 3.96 x 3.23 m. Courtesy the artist and Frith Street Gallery, London

The problem with a show like this is that its honest message and best intentions are rather muddied by having a big corporate player like GlaxoSmithKline sponsor it. The irony of having this company, one of the leading pharmaceutical and healthcare giants attached to this particular show was not lost on me. The press release advertised them as being “committed to improving the quality of human life by enabling people to do more, feel better and live longer. GSK is one of the largest givers in the FTSE 100 and has a long history of supporting art initiatives that encourage creative thinking.” What I read between the lines is that this is a great PR coup for a sector that does not always wear pristine white gloves and dove’s wings…Shame, really.

GSK8

Antti Laitinen, ‘It’s My Island I’, 2007. Video. © the artist. Image courtesy the artist and Nettie Horn. Photo: Antti Laitinen

Categories ,art, ,contemporary, ,contemporary art, ,Cornelia Parker, ,Earth: Art of a Changing World, ,ecology, ,Edward Burtynsky, ,Emma Wieslander, ,Exhibition Review, ,film, ,GlaxoSmithKline, ,global warming, ,GSK Contemporary 2009, ,installation, ,Mariele Neudecker, ,photography, ,Royal academy of arts, ,sculpture, ,Tracey Moffatt, ,Tracy Emin, ,Yael Bartana, ,Yao Lu

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