‘Past Present’ brings together paintings, sculptures and editions by contemporary artists inspired by notable historical works by Pablo Picasso, Henri Matisse and Henry Moore amongst others. Artists have always taken note of other artists’ creativity and work. While we tend to think of referencing as a postmodern phenomenon, the list of famous artists who documented admiration of past masters is endless. ‘Past Present’ continues this theme by exploring a selection of contemporary artists’ reinterpretation of historical works and movements.
For the Art Basel Miami Beach Online Viewing Room, Stephen Friedman Gallery’s presentation ‘In Real Life’ focuses on figuration and depictions of the human form through painting, sculpture and works on paper. Artists include Leilah Babirye, Jonathan Baldock, Sarah Ball, Denzil Forrester, Wayne Gonzales, Deborah Roberts, Yinka Shonibare CBE, David Shrigley and Kehinde Wiley.
At a time of global pandemic and urban lockdown many of us are re-evaluating our relationship with nature on both a personal and a societal level. Communion with nature is ever more sharply highlighted for its existential importance - seeking solace and balance in nature is a time-tested way to recalibrate and regenerate the human condition. This presentation looks at how artists draw on that relationship and how it is reflected in their practice. They find inspiration, subject matter and material in nature and their works offer a meditation on time, the seasons, fleeting moments captured and savoured. A slow and immersive look at the natural world outside ourselves: an antidote for a time of dislocation and social isolation. ‘In Nature’, is a new presentation visible to Old Burlington street from the window of the gallery’s viewing room. The works on display can also be explored through the Online Viewing Room.
Stephen Friedman Gallery is pleased to present ‘Multiple III’, the third iteration of its annual exhibition of editions by gallery artists. This year’s online presentation brings together a complete catalogue raisonné of David Shrigley’s screenprints from 2012 onwards and is accompanied by the launch of a new edition by the British artist.
The present portrait of a young Afro-British woman called Savannah Essah is a classic example of Kehinde Wiley’s unique painting practice which has evolved over the last twenty years and is now celebrated in major institutional exhibitions around the world. Containing new and original visual content, this viewing room delves deeper into Wiley’s work and gives a personal context to both artist and sitter, breathing life into a portraiture practice that is at once original and deeply historic.
'Lockdown Drawings' is a new body of work created by British artist David Shrigley during the UK's coronavirus lockdown in spring 2020. Encompassing 340 works to date, these quick-witted ink on paper drawings reveal chance utterings and satirical comments on everyday situations and human interactions. Shrigley produced these works at his home by the sea in Devon, in the southwest of England. "We decamped here from Brighton. And I brought 500 sheets of paper and several bottles of ink," the artist says. "I have a little studio in the house [and] I'm able to do my thing."
This Online Viewing Room identifies the different ways in which drawing informs the sculptural practices of artists, bringing together works by Claire Barclay, Melvin Edwards, Tom Friedman, Kendell Geers, Jim Hodges, Yinka Shonibare CBE, David Shrigley and Jiro Takamatsu. The presentation includes personal commentaries from a number of the artists explaining the relationship between drawing and sculpture in their practices.
Describing them as “existential landscapes”, Andreas Eriksson is typically known for his subtly textured paintings of the natural world. In recent years, the artist has expanded his formal language by making large-scale, handwoven tapestries rendered in subtle hues of undyed yarn. This Online Viewing Room highlights the formal and conceptual connections between these two distinct aspects of Eriksson’s practice, both united in the artist’s enduring interest in the passing of time and his relationship to the canvas. The OVR is accompanied by a digital commentary from Hettie Judah, art critic and regular contributor to The Guardian, Frieze and The New York Times.
Stephen Friedman Gallery has built a reputation for its commitment over the last 25 years to championing artists from Latin America. The gallery inaugurates its Online Viewing Room (OVR) programme with a specially curated exhibition featuring works by celebrated historical and mid-career artists from South America who have formed a vital part of the gallery's history. The OVR is accompanied by a personal narrative from Stephen Friedman.