1,721,008 research outputs found
A conversation between Donald Smith and Daniel Sturgis at CHELSEA space on the occasion of 'Almost Bliss: Notes on Derek Jarman's Blue'.
No full textThe article is a conversation between the author Daniel Sturgis and Donald Smith on the occasion of an exhibition of work by Derek Jarman 'Almost Bliss: Notes on Derek Jarman's Blue' at CHELSEA space, London (29 January–15 March 2014). Smith curated the exhibition, which focused on Jarman’s notebooks for his seminal late film Blue (1993). The way the exhibition was displayed disrupted the architectural spaces of the gallery and immersed spectators into a charged environment. The conversation illuminates Jarman’s working processes, his influence from the work of Yves Klein and reflects on how the exhibition space and installation can speak around it’s subject
Reflections on Simon Hantaï: Daniel Buren in conversation with Daniel Sturgis, Varennes-Jarcy, 23 September 2014
Get PDFThis essay, in the form of a conversation between Daniel Buren and Daniel Sturgis, reflects upon Daniel Buren’s friendship and respect for the work of Simon Hantaï. Daniel Buren talks of his introduction to Simon Hantaï’s work, and how Hantaï influenced not only himself but also other artists from his generation and in particular Michel Parmentier. Daniel Buren also looks critically at the Simon Hantaï retrospective at the Centre Pompidou in 2013, which he felt did not fully capture the radical qualities that first drew him to Hantaï paintings and installations
Painting, abstraction and representation in the work of Daniel Sturgis
No full textKathy Kubicki's catalogue essay on the work of Daniel Sturgis takes an in depth look at the abstract painting practice of Daniel Sturgis, and his influences from Modernism to the Baroque. Daniel Sturgis is Reader in Painting, and Programme Director of BA Fine Art at Camberwell College, UAL
Daniel Sturgis: New Works
No full textThe solo presentation 'Daniel Sturgis: New Works' at Galerie Hollenbach was the culmination and final installation of Sturgis’s stack paintings.
Artists’ Statement: “Within the painting, seemingly divergent positions are in agreement, reconciled or able to exist politely together. There is balance, as differing references from art, contemporary culture, abstraction and design are brought together to share common ground”
Daniel Sturgis at Sleeper, Edinburgh
No full textsolo exhibition: Daniel Sturgis at SLEEPER, Edinburgh
initiated by artist Alan Johnston and architect Neil Gillespie sleeper brings to edinburgh a rich diversity of national and international art an archetypal white cube gallery sleeper lends the viewer an intimacy with work in situation
Exhibited artists include: Fraser Stables; Karen Forbes; Ragna Róbertsdóttir; Bruce Naumann; Franziska Furter; Matt Rogalsky; Thomas Lawson; Roger Ackling; Ulrich Ruckriem; David Connearn; Thomas Clark; Adam McEwen, Douglas Gordon; Ruth Vollmer; Charles Avery, Donald Urquhart, Kenneth Dingwall; John Murphy; Jeremy Miller; Gary Rough; Miriam Walsh, Pavel Buchler; Bill Furlong, Tervor Sutton, Eric Cruikshank
Natural States - Ingo Meller, Daniel Sturgis & Clare Woods
No full text'Natural States' brings together three leading European painters, whose work investigates the on-going relationships between contemporary painting and its modernist past. Ingo Meller, Daniel Sturgis and Clare Woods each in different ways looks critically at aspects of this history as a basis or starting point to make new paintings, which open up new areas of enquiry and investigation. Throughout the exhibition their paintings will be displayed in proximity to works from the Pier Arts Centre’s own collection, that they are seen to connect to or have a special affinity with.
Natural States is supported by the Goethe Institut
Descendants of Daniel Sturgis and Jean Bratton - Accession 715 no. 41
Get PDFDescendants of Daniel Sturgis and Jean Bratton of York County, South Carolina by Max Perry relates the genealogical information of the family from the 1700s to the 1990s. In addition to Sturgis, other surnames include Dodds, Ferguson, Jenkins, Lesslie, Neely, and Schooley among many others. Please see attached Table of Contents and Index.https://digitalcommons.winthrop.edu/manuscriptcollection_findingaids/2556/thumbnail.jp
Bauhaus: To turn away from normality
Get PDFThis paper revisits the history and legacy of the Bauhaus from the vantage point of contemporary art education. It explains how the design school was never a unified project, but rather a collection of disparate voices and opinions, and shows how ideas of community and subjectivity were at its centre. The author asks if these ideas, born out of early 19th century educational reform, and pressurised by the political turbulence of 1920s and 30s Germany may be the most useful influences for the Bauhaus impacting on Art and Design education today.
The paper was prepared for the opening of the conference Bauhaus Utopia in Crisis, 24th October 2019, University of the Arts London, Camberwell College of Arts. The conference was part of the week-long OurHaus festival at the University that ran between 21-25th October 2019. The festival included the exhibition Utopia in Crisis, curated by Daniel Sturgis at Camberwell Space Gallery (16 September – 9 November 2019) touring to Bauhaus-Universität Weimar (2020)
Daniel Sturgis: We Work Together
No full textSolo exhibition WE WORK TOGETHER by the British artist Daniel Sturgis.
The exhibition presents a series of three interconnected paintings and a watercolour.
Sturgis is interested in investigating the limitations of modernist formalism whilst using the formal modernist language of abstraction. As such he is interested in how painting can adhere and depart from known positions simultaneously. His paintings and works on paper question the notion of an isolated or detached style of formalism by recognising that such a language can never be outside of culture and histories. His work references this through their use of material and visual quotation. In WE WORK TOGETHER the central composition of the circle and the square nods to the classicism and schema of Vitruvian Man, but the works references are never explicit. Likewise, the paintings are not concrete or mathematically set up. Rather they should be seen as provisional and approximations. Elements in one work allude to other paintings or representation in a broader ‘culture’ through their use of the language of art, design, animation and web aesthetics. The paintings which are made slowly in acrylics by hand seem to comment on more industrialised forms of production. Formally elements in the works can be seen to be mistranslated or to shift or be in slightly the wrong place or context. They allow your mind to have permission to associate, to correct, to straighten the way that they are drawn or balanced, or imbalanced. These distortions are welcomed as the paintings – together and individually – are forthright, open and accepting to difference
Artist dialogues: Carmengloria Morales with Daniel Sturgis
Get PDFInterview with the the artist Carmnegloria Morales.
Carmengloria Morales was born in Santiago del Chile in 1942 and has lived in Italy since 1953, with long parentheses in London and New York. After her first experiences in geometric abstractionism at the beginning of the 1960s, in the 1970s her painting took on a more conceptual matrix in the series of Diptychs, consisting of two canvases placed side by side, one pain- ted and the other left in its natural state, which tend to represent the infinite expressive potential of painting. In the 1980s, she co-founded Radical Painting in New York, accentuating the chromaticism and textural layering of colour in her painting and adding Tondi and Pale to her production, such as the famous Entierro polyptych.
Daniel Sturgis is an artist and curator, born in Lon- don in 1966. His pictorial language fuses the traditions of visual and formalist research with con- temporary pop references and a casual aesthetic. His work proposes new possibilities for painting and his unusual geometric arrangements revive the optimistic and visionary qualities of modernism. Sturgis’ works promote a bridge between the legacy of 20th century abstraction and 21st century values and sensibilities. As a critic, he has curated a series of exhibitions examining aspects of contemporary painting and its historical legacy, most notably ‘The Indiscipline of Painting’ at the Tate St Ives and Warwick Art Centre in 2011/12
- …
