The Thomas Dein Gallery opened in April 2004 with the first exhibition of Steve McQueen’s work, followed in October of that year by Paul Pfeiffer’s first solo exhibition in the UK.
Since then, the gallery has hosted the first solo exhibitions of Albert Olen, Jorge Queyros, Jose Damasceno, Jean-Luc Moulin, Glenn Ligon, Arturo Herrera, and many others, in addition to a strong group of British artists.
The gallery achieved its distinctive position thanks to:
- strong adherence to the moving image, both in production and in exhibitions of works by Steve McQueen, John Gerrard, Akram Zaatari, Paul Pfeiffer, and Bruce Conner;
- its history of bringing important international artists of the middle generation to London – including Cecily Brown, Albert Olen, Glenn Ligon, Dana Schutz, and Arturo Herrera – now have a solid base of support for museums and collectors in the UK;
- raising and developing new talents such as Hurvin Anderson, Karag Thuring, Walid Beshti, Kelly Walker, Ella Kruglyanskaya, and Anthea Hamilton;
- commitment to curated experimentation by guest curators.
Thomas Dane Gallery now features Amy Siegel
Amy Siegel, whose practice spans film, video, performance, painting, photography, and sound, has joined the Thomas Dane Gallery in London for a solo exhibition of her work next year.
The artist’s work often explores the intricacies and nuances of imaging and has previously exhibited at the Guggenheim Museum Bilbao, the South London Gallery, the Metropolitan Museum of Art in New York, the 12th Gwangju Biennale in 2018, and the Whitney Biennale in 2008, and other places.
Amy Siegel (born 1974, Chicago, Illinois) works differently with film, video, performance, painting, photography, and sound, uncovering and connecting multiple layers of meaning in her carefully crafted installations. Latent currents of value systems, cultural property, and image creation are often traced in her work.
In 2021, she is going to take part in the 34th Sao Paulo Biennale. She will exhibit new works at the Scottish National Gallery of Modern Art in Edinburgh and ArkDes in Stockholm.
In the spring of 2021, the artist`s new works will be represented in Edinburgh at the Scottish National Gallery of Modern Art and ArkDes, the Swedish National Center for Art and Design, Stockholm. And in the fall of 2021, she will take part in the 34th Biennale in Sao Paulo.
At the Carnegie Museum of Art in Pittsburgh, in 2022, a personal presentation of her work will be held, including a new commission.
Siegel`s films have been screened at international film festivals in Rotterdam, Toronto, Berlin, New York, and Cannes.
FIRST SOLO LONDON EXHIBITION BY ARTIST DANA SCHUTZ FROM NEW YORK
New York-based artist Dana Schutz presents a selection of new paintings and bronze sculptures at her first solo exhibition in London and first at Thomas Dane Gallery, continuing her visualization of fictional conditions, psychological sensations, and subjective experiences.
The project confirms Schütz’s interest in painting as a physical and emotional space in which imaginary crises and social relationships are in tension. The paintings depict a besieged and wounded group of characters wandering in the dark, fighting alone, and wandering alone through colored fields.
Clouds fall from above like rocks, and a smoky sky glowing green serves as a vivid backdrop for the empty-eyed protagonist, while costumed birds knock him off the top of the mountain. Boatmen drift in the dark, as if forever – no mooring, no rudder, and no interest. Their heads, like fruits in a bowl, resemble a still life.
Mood, interior setting, and psychic discord are reflected in setting and landscape: the nomad in the desert is thwarted by the eyeball and the chain that meets the eyes with the sun, while the monstrous size of the Big Model (2020) suggests that the figure can walk across the sea at any depth.
In order to enhance the physical nature of his characters, Schutz uses paint in layers and is densely applied to the canvas in a sculptural manner. The six new bronze sculptures on display at 11 Duke Street formalize Schutz’s pictorial features as objects.
Originally formed from clay, the sculptures are heavily gestured, pockmarked, and punched with fingers. Here the sculptures have a tangible sense of temporality, be it cruelty, tragicomic, or sinister.
In both environments, in Shadow of a Cloud Moving Slowly, Schutz highlights figures in a setting that grapples with dangers and ailments, internal dilemmas, and clown absurdities; their physical distortion and conflict are stuck in a shifted transience.
Dana Schutz was born in Livonia, Michigan in 1976. She lives and works in New York. Recent solo exhibitions: Imagine Me and You, Petzel, New York NY (2019); Dana Schutz: Eating Atomic Bombs, Transformer Station, Cleveland, Ohio (2017); Dana Schutz, Boston Institute of Contemporary Art, Boston, Massachusetts (2017); Waiting for the Barbarians, Contemporary Fine Arts, Berlin, Germany (2016); Fight in an Elevator, Petzel, New York (2015), and others.
Selected public collections include The Solomon R. Guggenheim Museum, New York, NY; Hammer Museum, Los Angeles, California; Institute of Contemporary Art, Boston, Massachusetts; Metropolitan Museum of Art, New York, NY; Museum of Contemporary Art and Modernity of Trento and Rovereto, Rovereto, Italy; Museum of Fine Arts, Boston, Massachusetts; San Francisco Museum of Contemporary Art, San Francisco, California; Whitney Museum of American Art, New York, NY.
Cecily Brown’s Exhibition, Triumph of the Vanities, at the Met Opera
Cecily Brown is known for her instinctive and flamboyant depictions of body, nature, and history, balancing between figuration and abstraction in lavishly fragmented mess-ups that deeply touch art history and popular culture.
Grand in scope and rich in references, these kaleidoscopic works have made Brown one of the most respected artists of his generation.
In September 2018, the Metropolitan Opera’s Visual Arts Initiative, Gallery Metropolitan Museum of Art, opened a new seasonal show for Cecily Brown. New works by the British artist, inspired by the new Metropolitan season and the house itself, have been exhibited in various public spaces throughout the building.
The focus was on two large paintings, nearly 26 feet wide, on the Grand Tier and Lingerie of the Opera House, entitled Vanity Triumph I and Vanity Triumph II.
Both of them were painted in oil on canvas in 2018. The exhibition also featured a series of landscape sketches at the Parterre level and in the north and south lounges at orchestra level.
This exhibition marked a change in the location of the Gallery Metropolitan Museum of Art in New York. Previous exhibitions have mainly been presented in their own space in the south lobby of the Met.
The artist was born in London. Brown found an early mentor with artist Maggie Hambling. She encouraged her to paint and pursue her degree at the Slade School of Art. But shortly after graduating in 1994, the artist moved to New York. She was feeling little intimacy with the burgeoning young British artist scene, which she described as a “closed club.”
Four years later, Larry Gagosian took on Brown. And she quickly became an art star, soon becoming one of the few female artists whose work sells for over $ 1 million. She left Gagosian in 2014, but her reputation continues to flourish.
In the future, Gallery Metropolitan Museum of Art in New York will continue to offer contemporary artists’ work in Metropolitan public spaces in a variety of ways.
Now Brown has completed new work specifically for Blenheim Palace in Oxfordshire, the seat of the Dukes of Marlborough and the birthplace of Winston Churchill.
When asked what she thinks about becoming the first contemporary artist to hold an exhibition in Blenheim, surrounded by Stubbs, Reynolds, and Van Dyck in all their glory in gilded frames, Brown replies that despite the fact that she uses so much art history, she has always disliked the idea of showing her work alongside the great old artists of the past. She is immersed in modern culture and wants to be a part of this world. People concentrate so much on abstract expressionists in her work, but they almost never mention modernism.