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Bloody art fairs. Read Jerry Saltz's brilliant article on the subject. They're so expensive and so ubiquitous that only the very biggest galleries can afford to participate. What's more, they have to show safe work by established artists and can't afford to take a chance on lesser-known, or emerging artists. Considering that, In the first 6 months of 2017, just 25 artists accounted for 47% of the $2.7 billion of auction sales worldwide, we need to help and encourage new artists. We need more Castellis who nurture artists and don't concentrate on a few big brand-names. #artforum #artfair #contemporaryart #friezeweek #friezemagazine #independentcollectors #creativedebuts #artspace #huffpostgram #theartnewspaper #waddingtoncustotgalleries #charlessaatchi  #artcollective #artcritic #artforum #elephantmagazine #artnews #artnet #blainsouthern #contemporaryartcollector #sothebys #sadiecoleshq #timothytaylorgallery  #artinfo #gallery #artcurator  #themuseumofmodernart #jerrysaltz
Bloody art fairs. Read Jerry Saltz's brilliant article on the subject. They're so expensive and so ubiquitous that only the very biggest galleries can afford to participate. What's more, they have to show safe work by established artists and can't afford to take a chance on lesser-known, or emerging artists. Considering that, In the first 6 months of 2017, just 25 artists accounted for 47% of the $2.7 billion of auction sales worldwide, we need to help and encourage new artists. We need more Castellis who nurture artists and don't concentrate on a few big brand-names. #artforum  #artfair  #contemporaryart  #friezeweek  #friezemagazine  #independentcollectors  #creativedebuts  #artspace  #huffpostgram  #theartnewspaper  #waddingtoncustotgalleries  #charlessaatchi  #artcollective  #artcritic  #artforum  #elephantmagazine  #artnews  #artnet  #blainsouthern  #contemporaryartcollector  #sothebys  #sadiecoleshq  #timothytaylorgallery  #artinfo  #gallery  #artcurator  #themuseumofmodernart  #jerrysaltz 
From Duchimp & Maclean's THE ARTY FARTY GLITTERARTI, which takes the pissoir out of those deeply superficial creatures who prefer to be seen seeing art, than to see art. Art fairs were made for them. #artfair #artfairs #creativedebuts #friezeweek #friezeartfair #wordart #charlessaatchi #contemporaryart #contemporaryartcurator #contemporaryartcollector #artcritic #artforum #elephantmagazine #theartnewspaper #artspace #artgallery #independentcollectors #waddingtoncustotgalleries #gagosiangallery #sadiecoleshq #tatemodern #gallerywall #newportstreetgallery #ratedmodernart #artmuseum #artmonth #artgallery #jerrysaltz
From Duchimp & Maclean's THE ARTY FARTY GLITTERARTI, which takes the pissoir out of those deeply superficial creatures who prefer to be seen seeing art, than to see art. Art fairs were made for them. #artfair  #artfairs  #creativedebuts  #friezeweek  #friezeartfair  #wordart  #charlessaatchi  #contemporaryart  #contemporaryartcurator  #contemporaryartcollector  #artcritic  #artforum  #elephantmagazine  #theartnewspaper  #artspace  #artgallery  #independentcollectors  #waddingtoncustotgalleries  #gagosiangallery  #sadiecoleshq  #tatemodern  #gallerywall  #newportstreetgallery  #ratedmodernart  #artmuseum  #artmonth  #artgallery  #jerrysaltz 
Some of the pieces exhibited in Urs Fischer's 'Soft' feature drramy elements such as gingerbread houses covered in candy, multicoloured birds, and relaxing scenery. Read more about this exhibition in our journal (link in bio ⬆) 💙
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#ursFischer #soft #sadiecoleshq #artexhibition #Artinlondon #art #birds #dreams #SwissArtist #blue #colour
The extraordinary colours used appear even more bold and vibrant as the bright lights from above flit around the room making each work come to life with their luminescent colours in front of viewers’ very eyes. Read more about this exhibition in our journal (link in bio ⬆) ❤
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#ursFischer #soft #sadiecoleshq #artexhibition #art #Artinlondon #SwissArtist #dreams #pink
Urs Fischer’s ‘Soft’ at the @sadiecoleshq  gallery in Kingly Street is simply exquisite. 
The entire exhibition is incredibly magical and surreal causing viewers to enter a world that is entirely their own through Fischers paintings. Read more about this exhibition in our journal (link in bio ⬆) 💙
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#ursFischer #soft #sadiecoleshq #artexhibition #Artinlondon #art #dream #colour #SwissArtist #artlover #blue
NOT QUITE 100 MILLION SPERMICIDAL MANIACS. A tribute to Ai Weiwei's Sunflower Seed installation - a prime example of Bigism in art. As we all know, big is beautiful. Big is important. Big work suits museums and big-ego art investors. Ah well, human seed, sperm, may not be big, but they've had a huge impact on this planet. And unlike sunflower seeds, they're fun and very silly. And quite creative too. #aiweiwei #greatsculpture #seeds #contemporaryartcurator #contemporarysculpture #artfairs #artcritic #artcurator #elephantmagazine #artfinder #artspace #artforum #blouinartinfo #artdirection #artdealer #gallery #theartnewspaper #themuseumofmodernart #artnews #newportstreetgallery #saatchigallery #sadiecoleshq #silly #satire #gagosiangallery #friezemagazine #hauserwirth #charlessaatchi #artlyst #independentcollectors
NOT QUITE 100 MILLION SPERMICIDAL MANIACS. A tribute to Ai Weiwei's Sunflower Seed installation - a prime example of Bigism in art. As we all know, big is beautiful. Big is important. Big work suits museums and big-ego art investors. Ah well, human seed, sperm, may not be big, but they've had a huge impact on this planet. And unlike sunflower seeds, they're fun and very silly. And quite creative too. #aiweiwei  #greatsculpture  #seeds  #contemporaryartcurator  #contemporarysculpture  #artfairs  #artcritic  #artcurator  #elephantmagazine  #artfinder  #artspace  #artforum  #blouinartinfo  #artdirection  #artdealer  #gallery  #theartnewspaper  #themuseumofmodernart  #artnews  #newportstreetgallery  #saatchigallery  #sadiecoleshq  #silly  #satire  #gagosiangallery  #friezemagazine  #hauserwirth  #charlessaatchi  #artlyst  #independentcollectors 
In December 2001 Sadie Coles HQ presented an exhibition in 2 parts of sculptures and text pieces of artist Carl Andre.

SMALL FIELDS was a group of new works made of brass plates and steel magnets, the rather small size of these pieces transformed the room of the gallery’s space into an enormous plateau.  #sadiecoleshq #carlandre 
SHOOTING A SCRIPT was a script project that Andre worked for 25 years and that culminated on a limited edition book of 78 copies.  #sadiecoleshq #carlandre #sculptures #magneticfields #brassplates #plateou #script #limitededitionbook
In December 2001 Sadie Coles HQ presented an exhibition in 2 parts of sculptures and text pieces of artist Carl Andre. SMALL FIELDS was a group of new works made of brass plates and steel magnets, the rather small size of these pieces transformed the room of the gallery’s space into an enormous plateau. #sadiecoleshq  #carlandre  SHOOTING A SCRIPT was a script project that Andre worked for 25 years and that culminated on a limited edition book of 78 copies. #sadiecoleshq  #carlandre  #sculptures  #magneticfields  #brassplates  #plateou  #script  #limitededitionbook 
Watercolor painting
Watercolor painting
Watercolor painting
Watercolor painting
Watercolor painting
Watercolor painting
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
Acrylic paint
#SarahLucas of #SadieColesHQ with a great recreation of a formerly kitsch ornament turned to high out partly due to the surreal aubergines cargo.
#SarahLucas  of #SadieColesHQ  with a great recreation of a formerly kitsch ornament turned to high out partly due to the surreal aubergines cargo.
Urs Fischer ‘soft’ at @sadiecoleshq #ursfischer #sadiecoleshq
🦅Birdwatcher 📸@mariestnt  #ursfischer #sadiecoleshq #heatwave
In summer 2000, Laura Owens presented an exhibition at Inverleith House, Edinburgh – her first solo show at a public institution in the UK. This followed her first two exhibitions at Sadie Coles HQ, London, in 1997 and 1999. Owens’s paintings and drawings at Inverleith House appeared alongside a series of nineteenth-century botanical teaching diagrams. The juxtaposition reflected Owens’s broader engagement with the historical collections of the Royal Botanic Garden, Edinburgh.  @lownstd  #sadiecoleshq #lauraowens #inverleithhouse #edinburgh #botanicaldiagrams #botanicaldrawings #historicalcollection #royalbottanicalgardens #lauraowenspaintings #lauraowensdrawings
In summer 2000, Laura Owens presented an exhibition at Inverleith House, Edinburgh – her first solo show at a public institution in the UK. This followed her first two exhibitions at Sadie Coles HQ, London, in 1997 and 1999. Owens’s paintings and drawings at Inverleith House appeared alongside a series of nineteenth-century botanical teaching diagrams. The juxtaposition reflected Owens’s broader engagement with the historical collections of the Royal Botanic Garden, Edinburgh. @lownstd #sadiecoleshq  #lauraowens  #inverleithhouse  #edinburgh  #botanicaldiagrams  #botanicaldrawings  #historicalcollection  #royalbottanicalgardens  #lauraowenspaintings  #lauraowensdrawings 
Although best-known for his large-scale sculptures and installations, Urs Fischer's iPhone drawings also extend on the artist's desire to test the limits of his chosen material. 'Soft / Friend' (2018) is on view in the solo exhibition 'Soft' at @sadiecoleshq until 18 August.

#ursfischer #drawing #iphonedrawing #ursfischersoft #digitaldrawing #sadiecoles #sadiecoleshq #contemporaryart #contemporaryartist #visualart #visualartist #ocula #oculaart #1151696
If anyone is visiting #gagosian or #sadiecoleshq on Davies street in the next few months feel free to drop in to #33daviesstreet to see my little solo show there, this and 4 more pieces there as a long running installation until summer 2019
If anyone is visiting #gagosian  or #sadiecoleshq  on Davies street in the next few months feel free to drop in to #33daviesstreet  to see my little solo show there, this and 4 more pieces there as a long running installation until summer 2019
Philosophie de l’ambiguité II. Tryptic. 2016
Gelatin silver print 45 x 30 cm.

Furours/Linhof Portrait Series
Double, Triple expositions.  Some of the portrait printed on a strip curtain.
Zine / 30 x 45 cm.
Hard cover, 58 pages, 29 spreads-photos, Lambda print (6.5 kg./ 14 lb.)
Five signed copies (3 of 5 available)
Price: 8100 £
Worldwide Shipping

#sadiecoleshq#levygorvy#GalerieThaddaeusRopac#YvonLambert#PaulaCooper#LehmannMaupin#DeitchProjects#SeanKellyGallery#LissonGallery#BlumPoe #GavinBrownEnterprise #SpruethMagers#VictoriaMiro#Salon94#MarianGoodman#PaceGallery#DavidZwirner#GaleriePerotin#HauserWirth #Gagosian #Sfphoto #bonhams#viviandaval#bnw_universe#sicd #southislandculturaldistrict #houghtonhall #moma #linhofphotografer
Philosophie de l’ambiguité II. Tryptic. 2016 Gelatin silver print 45 x 30 cm. Furours/Linhof Portrait Series Double, Triple expositions.  Some of the portrait printed on a strip curtain. Zine / 30 x 45 cm. Hard cover, 58 pages, 29 spreads-photos, Lambda print (6.5 kg./ 14 lb.) Five signed copies (3 of 5 available) Price: 8100 £ Worldwide Shipping #sadiecoleshq #levygorvy #GalerieThaddaeusRopac #YvonLambert #PaulaCooper #LehmannMaupin #DeitchProjects #SeanKellyGallery #LissonGallery #BlumPoe  #GavinBrownEnterprise  #SpruethMagers #VictoriaMiro #Salon94 #MarianGoodman #PaceGallery #DavidZwirner #GaleriePerotin #HauserWirth  #Gagosian  #Sfphoto  #bonhams #viviandaval #bnw_universe #sicd  #southislandculturaldistrict  #houghtonhall  #moma  #linhofphotografer 
‘The Dance’, ‘Cave Dive’ and ‘The Poets’ by Urs Fischer, currently on display at Sadie Coles HQ in London as part of his solo exhibition, ‘soft’, which runs until August 18th.
“Urs Fischer : Working on the phone, you basically paint with light. I like it better myself, because it is much closer to playing an instrument: your direct touch transfers immediately into what it is, rather than needing to move material around. You don’t have material restrictions, you can go back and remove stuff, you don’t have to damage, change or ruin a painting, you can just go back, you have freedom. I made many, many of these drawings and I can choose to go back in, make copies, change things, because they are all just files on my phone, until they are not.
I have a great big studio but I like that I am not using it at all, I am just sitting on the couch with my phone. It is awesome. And I can zoom in, I can work in detail on tiny things. The radius of my hand can do the same move in a very big or very small scale. I am not restricted by the real scale of my arm. On a traditional painting you are aware of how a hand or arm moved across that surface, both the reality and limitations of that.
Sadie Coles : The i-phone is tool for distance and intimacy.
UF : It was created to be an extension of the body. It is very intimate. You don’t have to be embarrassed if you make a crap drawing. You don’t give up. Here you can fail and it is fine. It is a very liberating medium because it gets quicker to start and is moveable, accessible anywhere.
It is when you want to bring it back into the real world, that is the difficult thing. How do you breathe life into them? When you work on the phone you aren’t working with real colours, tubes of paint. Here you can shift around any colour in any direction. For me it is coming from photography, from drawing, from painting, from sculpture. It is a natural combination of all of those. Since the mid-nineties I have been making drawings on a computer but it was always difficult to extract them because of print quality.”
‘The Dance’, ‘Cave Dive’ and ‘The Poets’ by Urs Fischer, currently on display at Sadie Coles HQ in London as part of his solo exhibition, ‘soft’, which runs until August 18th. “Urs Fischer : Working on the phone, you basically paint with light. I like it better myself, because it is much closer to playing an instrument: your direct touch transfers immediately into what it is, rather than needing to move material around. You don’t have material restrictions, you can go back and remove stuff, you don’t have to damage, change or ruin a painting, you can just go back, you have freedom. I made many, many of these drawings and I can choose to go back in, make copies, change things, because they are all just files on my phone, until they are not. I have a great big studio but I like that I am not using it at all, I am just sitting on the couch with my phone. It is awesome. And I can zoom in, I can work in detail on tiny things. The radius of my hand can do the same move in a very big or very small scale. I am not restricted by the real scale of my arm. On a traditional painting you are aware of how a hand or arm moved across that surface, both the reality and limitations of that. Sadie Coles : The i-phone is tool for distance and intimacy. UF : It was created to be an extension of the body. It is very intimate. You don’t have to be embarrassed if you make a crap drawing. You don’t give up. Here you can fail and it is fine. It is a very liberating medium because it gets quicker to start and is moveable, accessible anywhere. It is when you want to bring it back into the real world, that is the difficult thing. How do you breathe life into them? When you work on the phone you aren’t working with real colours, tubes of paint. Here you can shift around any colour in any direction. For me it is coming from photography, from drawing, from painting, from sculpture. It is a natural combination of all of those. Since the mid-nineties I have been making drawings on a computer but it was always difficult to extract them because of print quality.”
Urs Fischer : Soft ⚫ Sadie Coles HQ
Urs Fischer : Soft ⚫ Sadie Coles HQ
Urs Fischer : Soft ⚫ Sadie Coles HQ
Urs Fischer : Soft ⚫ Sadie Coles HQ
Whether utilising foodstuffs or more self-destructive mediums, such as soft wax that simply melts away, Urs Fischer mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time.⠀
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Fischer's 'Untitled' (2011) is on view in the group exhibition 'Dancing with Myself' at @palazzo_grassi until 16 December 2018.⠀
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#ursfischer #sculpture #sculptor #contemporarysculpture #palazzograssi #palazzograssi_puntadelladogana #contemporaryart #contemporaryartist #ocula #oculaart #sadiecoleshq ⠀
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© Urs Fischer. Courtesy of the artist and Sadie Coles HQ, London. Photos: Stefan Altenburger, Fulvio Orsenigo.⠀
Whether utilising foodstuffs or more self-destructive mediums, such as soft wax that simply melts away, Urs Fischer mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time.⠀ ⠀ Fischer's 'Untitled' (2011) is on view in the group exhibition 'Dancing with Myself' at @palazzo_grassi until 16 December 2018.⠀ ⠀ #ursfischer  #sculpture  #sculptor  #contemporarysculpture  #palazzograssi  #palazzograssi_puntadelladogana  #contemporaryart  #contemporaryartist  #ocula  #oculaart  #sadiecoleshq  ⠀ ⠀ © Urs Fischer. Courtesy of the artist and Sadie Coles HQ, London. Photos: Stefan Altenburger, Fulvio Orsenigo.⠀