91. GILLIAN
CARNEGIE
 |
|
Prince, 2011-2012
Oil on canvas 148 x 117 cm |
 |
|
Untitled, 2011
Oil on canvas 216 x 127 cm |
 |
|
Untitled, 2012
Oil on canvas 75 x 50 cm |
BIO & STEPS
Born:
In 1971
in Suffolk, UK
Nowadays:
Studies:
1998
MA Painting, Royal College of Art, London, England
BA Hons., Camberwell School of Art, London, England
Themes and
style:
Gillian
Carnegie works within traditional categories of painting - still life,
landscape, the figure and portraiture - with a highly accomplished technique.
Yet while apparently following the conventions of representational painting,
Carnegie challenges its established languages and unsettles its assumptions.
Her
approach, as her biography in the Tate catalogue has it, is to follow the
conventions of representational painting while challenging its established
languages and unsettling its assumptions. Her series of Black Square Paintings
refer explicitly to Kasimir Malevich's infamous Black Square painting of 1913.
But in Carnegie's version, detailed, night-time woodland scenes emerge from an
apparently impenetrable mass of sticky, black paint, to offer "a retort to
the macho modernist tradition of the monochrome".
Through exploring the act of painting itself she
capitalises on the "tension between the subject matter and the physicality
of the paint" - so ensuring that, although she eschews press interviews,
the controlling hand of the artist is everywhere apparent.
Techniques:
Her work
is mostly developed in paintings.
Exhibitions
2013
Tate, London, United Kingdom, November forthcoming
2013
Tate Britain, London, United Kingdom, “Looking at the View,”
February 12 – June 2
2013
Galerie Gisela Capitain, Cologne, Germany, April 20 – June 1
(solo exhibition)
2012
Abbot Hall Art Gallery, Cumbria, United Kingdom, “Francis
Bacon to Paula Rego,” June 23 – September 16
2011
The Dayton Art Institute, Dayton, OH, “Creating the New
Century: Contemporary Art from the Dicke Collection,” March 12 – July 10, 2011
(catalogue)
2011
Lismore Castle Arts, Waterford, Ireland, “Still Life”,
curated by Polly Staple, April 8-September 30, 2011 (catalogue)
2011
Andrea Rosen Gallery, New York, January 29 – March 5 (solo
exhibition)
2010
Center for Curatorial Studies at Bard College,
Annandale-on-Hudson, NY, “At Home/Not At Home: Works from the Collection of
Martin and Rebecca Eisenberg,” June 26 – December 19 (catalogue)
2010
176/ Zabludowicz Art Projects, London, England, “The Library
of Babel/ In and Out of Place,” curated by Anna-Catharina Gebbers, February 25
-May 9, 2010 (catalogue)
2009–2010
Palazzo Gallery, Brescia, Italy, "120 Day Volume Part I.
Interior view. Twilight" Museum Morsbroich, Leverkusen, “Slow Paintings,”
November 24, 2009-February 7, 2010
2009–2010
Los Angeles Museum of Contemporary Art, "Collection: The
First Thirty Years," curated by Paul Schimmel, November 15, 2009-May 3,
2010
2009–2010
Tate St. Ives, England, “The Dark Monarch,” October 9-January
10, 2010
2009
Cabinet Gallery, London, England, September 24 – October 31
(solo exhibition)
2009
Marres, Centre for Contemporary Culture, Maastricht,
Netherlands, “Depression”, September 19-November 29, 2009
2008
Kunst im Heim, Capitain Petzel, Berlin, Germany
2008
Douglas Hyde Gallery, Dublin, Ireland, September 26 -
November 13 (solo exhibition)
2008
Galerie Gisela Capitain, Cologne (solo)
2007
Galerie Capitain, Cologne
2007
Andrea Rosen Gallery, New York (solo)
2006
Painting in Tongues, Museum of Contemporary Art, Los Angeles,
January 29 – April 17, 2006
2006
The subversive charm of the bourgeoisie, Van Abbemuseum,
Eindhoven, The Netherlands
2005
Spectrum, Galerie Lelong, New York, December 9 – January 28,
2006
2005
Interested Painting, Gallery 400, University of Illinois at
Chicago, February 8 – March 19
2005
Tate Britain, London. An exhibition of work by the shortlisted
artists for the Turner Prize, October 18, 2005 – January 22, 2006. (catalogue)
2005
Cabinet Gallery, London (solo)
2004
Gisela Capitain, Cologne (solo)
2004
Now Is a Good Time, Andrea Rosen Gallery, New York, curated
by Dean Valentine, January 23 – February 21
2003
Days Like These, Tate Triennial Exhibition of Contemporary
British Art, London (catalogue)
2003
Hotel Sub Rosa, Cabinet, London
2003
Extending Painting Monica De Cardenas, Milan
2003
Andrea Rosen Gallery, New York (solo)
2002
Cabinet, London (solo)
2002
Sammlung Hauser & Wirth, The House of Fiction, St. Gallen
2002
Hotel Sub Rosa, Marc Foxx, Los Angeles
2001
Extended Painting, , Galleria Monica De Cardenas Milan, Italy
2000
Extending Painting, Monica De Cardenas, Milan
2000
Andrea Rosen Gallery New York, NY (solo)
2000
Salon, Delfina London, England
1999
Heart & Soul, 60 Long Lane London, England
1999
Cabinet Gallery, London (solo)
1998
New Contemporaries 98, Camden Arts Center London, England
1997
Honky Tonk, The Kitchen London, England
Public Collections
Cranford Collection, London
Tate Gallery, London
Los Angeles Museum of Contemporary Art
In her own words:
“What my drawings depict doesn't concern
me as much as drawing them. I'm just not interested in knowing about, say, what
images tell us. That cat, those stairs, these flowers, this or that tree is
really just a support for drawing itself. They are all a means to a drawing's
own end. People have the habit of reading an image but I'm not concerned with
that, because my activity is different from that of a reader. This really works
for me when the drawing itself is allowed to appear slowly on behalf of the
thing it depicts. I try to ignore this narrative effect as it tends to feel
like a solution to a false problem when I am working on an exhibition.”
Representative
Galleries:
The Paragon Press
Andrea Rosen
Gisela Capitain
For
more Information:
http://www.theguardian.com/artanddesign/2013/nov/08/why-painting-still-matters-tate-britain