ArtLyst Blog: 2009

Wednesday, 16 December 2009

Mark Woods "To Have To Hold" Exhibition: The Wapping Project

A new exhibition of work by sculptor and jewelery designer Mark Woods at the Wapping Project explores fetishism and many of the pieces have erotic and sensual overtones.They are lovingly fashioned in both precious and base materials. The small sculptures(some can be worn) at The Wapping Project exhibition, have been displayed in a rubber room which is crucial to the context of the objects. The public enters this room through a narrow rubber seal which caresses your body.The sculpture is viewed through peep holes cut into the latex walls. Other port holes appear under the windows encased in black rubber industrial gloves. You are invited to try and fondle the objects of your desire through the rubber as they glisten in their cases out of reach.This is a fitting close to 2009 at the Wapping Project. See more images on: ArtLyst Click Here

Monday, 14 December 2009

Eugenie Scrase Wins School Of Saatchi Hands Down

Eugenie Scrase Winner School Of Saatchi
ArtLyst Reports:

Eugenie Scrase was deservedly the winner of School of Saatchi with her “Log on a Fence” installation. The work, a found object, consisted of a blue iron fence with an impaled log, the remains of a fallen tree cut down by the council somewhere in North London.
Scrase a 20 year old from London is currently studying Fine Art / Sculpture at the Slade School of Fine Art. Her tutors have been encouraging about her participation in the series but no one ever believed that her work would win the competition. She was born in France, moving to Buckingham with her family in the early 1990s. Scrase has had learning difficulties, caused by dyslexia. This led her to spend much of her spare time in the school art department. Her sculptures and installations are formed largely from found objects. They were often described as chaotic by the panel of industry insiders, Kate Bush, (Curator at the Barbican) Matthew Collings, (art critic and broadcaster) Tracey Emin (Artist) and Frank Cohen (collector). I think the bottom line was to choose the best piece in the final exhibition. This was held in The Saatchi Gallery in Chelsea last summer. Scarase’s piece was visually the best and most original presented. She is a natural young talent. Sometimes her explanations were vague and random but in the end the work did what it was supposed to do. It spoke for itself and to Charles Saatchi. This was an interesting but obnoxious exercise. It made good and compulsive TV viewing. I would think that this will be a one off series as ratings are everything to the BBC and you have to ask yourself the question,do we really want to allow visual art to have the X Factor treatment in the future?Read More: http:www.artlyst.com

Monday, 7 December 2009

Richard Wright Wins Turner Prize 2009

Wright Stuff Leaves Me Cold
Has contemporary Art Reached The Vanishing Point ? In 1975 Tom Wolfe wrote those very thoughts in an article called The Painted Word.

The 2009 Turner Prize has gone to Richard Wright an artist who was my third choice this year. In the Tate's words Wright created," subtle and exquisite wall paintings that respond directly to the architecture in which they are created. Often awkwardly placed in discreet locations, they combine graphic imagery and intricate patterning from sources as varied as medieval painting, graphics and typography".I don't hate his work but it is unlikely that It will remain memorable in years to come. He looks a nice chap though! Please let me know your feelings on the subject. I am gutted that Roger Hiorns didn't win for his amazing entry this year and can only hope that he is nominated again in the future.The Tate described his work as, " An arresting sculpture and installation combining unusual materials. His exploration of chemical processes took spectacular effect in Seizure, in which a derelict flat in South London was filled with liquid copper sulphate, which after a period of time encrusted every surface of the space with blue crystals"If this year was about pushing the boundaries which it surely wasn't then Hiorns should have won for creating something that was out of step. Seizure was a cut above and stunningly beautiful. Perhaps his age had something to do with the final judgment. I think the award is ageist anyway.I would have nominated Gerry Judah for his paintings of aerial bombardments inspired by Iraq. They speak to me politically and visually. Problem is he is over 50 but why should that matter,both Malcolm Morley and Howard Hodgkin got the prize before they changed the goalposts!.There is always next year to look forward to..... ArtBitch 2009 Read More On: http://www.artlyst.com

Sunday, 6 December 2009

Turner Prize Winner Is Announced Tomorrow Roger Hiorns Wins

Roger Hiorns “Seizure” 2009

The Turner Prize winner is announced tomorrow and Art Basel Miami ends today.This is a very busy week for the contemporary art scene. Art Basel Miami finishes, with a mixture of the good the bad and the ugly, while tomorrow the shortlist for the Turner Prize is judged by a mixed panel of people, some (not to mention names) think they understand contemporary art and some know very little (a reference to a certain blond...or should I say gray cougar agony aunt)
I will have a full round up of the events later on in the week. If you missed the ArtLyst video of the Turner shortlisted artists here is the link again. http://www.www.youtube.com/user/ArtLyst1 Roger Hiorns is head and shoulders above the others and if he doesn't win ArtLyst will be very upset.... © ArtBitch 2009

Friday, 20 November 2009

Nothing Really Mattress

'Found Art' or is this the next new thing?

Text Paul Carter Robinson Photo Ellis Nadler

The most exciting contemporary art is often spontaneous and contextual. The endless documentation and written sketch books which are required by art colleges seem to have knocked the wind out of spontaneity. It has created a whole new generation of calculating and overly self - conscience artists in Britain and the US and is responsible for much of the lame work we see in the galleries today. On the other end of the spectrum, it has prompted a reaction to over-formalized approaches and opened the doors for ‘street artists’ like Banksy in the UK and Dan Colen in the US. The later a graduate of RISD (one of the leading formal art colleges in America).
My friend Ellis Nadler took the “Nothing Really Matress” photo on the way to his studio, last week, in the East End of London.
I think, besides the humour element, (mattress is misspelled and the play on the expression or Queen lyric) it is one of the most interesting works of art I have seen this year. When it was put up on the net it went viral and has now had over 75,000 hits.
Is this serious art? Well there isn’t a sketchbook and the documentation to make it a contender for the Turner Prize but maybe that’s not such a bad thing. Text Paul Carter Robinson Photo Ellis Nadler © 2009 ArtLyst.com

Wednesday, 18 November 2009

Does School Of Saatchi Have Simon Cowell's X Factor?

Will The Saatchi Experiment Prove Britain’s Got Talent ?
(Unfortunately, This is going to be Charles's epitaph)

Charles Saatchi was a man who represented his time in both his contribution to modern advertising and also for his cultural contribution to visual art in Britain. Along with his brother Maurice they created some of the most successful ad campaigns of the era, including, “ Labour isn’t working” and the shocking, ‘pregnant man’ poster. His genius for marketing and creative manipulation won the Tory party a landslide victory in 1979, which lasted until 1997. His other legacy has been his virtual domination of the visual art scene in the UK for over 25 years. Saatchi not only founded The Saatchi Gallery, which is a privately funded very public gallery, but was also the champion behind the YBA (Young British Artists) movement also known as Brit-Art. As in many past dynasties, the Saatchi period has abruptly come to a close. First he was accused of being just another art dealer when after aggressive marketing, he decided to sell 130 of his purchases through Christies in 1998. This continued with the high profile sale in 2003, when he sold many of his works by Damien Hirst back to the artist and to the London dealer Jay Jopling. It was reported that, Hirst paid Saatchi a bargain basement $15 million for 12 of his best-known pieces. It is also known that Saatchi has been selling through the major auction houses for years culminating with a reported partnership with Phillips de Pury, the Luxembourg, New York and now London auctioneers.
After launching his impressive new gallery in Chelsea in 2008, Saatchi is not doing himself or his reputation any favours by making the irreparable mistake of lending his overstretched name to something even more unacceptable than Margaret Thatcher. This faux pas has been re-packaged in the form of an X Factor style show masquerading as an arts program on the BBC.Boring old Auntie (That’s the BBC to our readers elsewhere) in her quest to replace as much broadcasting time with cheap to - make, reality programming, have been sold the idea by the advertising mogul. The objective of this fluff is to humiliate 100 young, amateur and professional artists as they aimlessly have their 15 minuets of fame in front of the cameras. The winning prize is the chance to be included in a group show organized by Saatchi at the Hermitage in St. Petersburg It is going out under the hilarious title “The School Of Saatchi”. God help us and God help Charles Saatchi whose popularity and reputation has plummeted. In this years ArtReview’s, 100 most influential people. He has moved from number 1 in 2002 to 14 in 2008 to the staggeringly poor 72 in 2009. I am not a Saatchi basher. But this beggars belief. It is sort of an unforgivable misdemeanour that will not be easy to recover from. Unlike Alan Sugar, Saatchi will not be appearing on this reality show himself. He will be represented by some unknown from the gallery along with Barbican curator, Kate Bush and publicity hound artist, Tracey Emin. I am horrified at the dumbing down of an area that we at ArtLyst take extremely seriously. The show begins airing on 23 November BBC 2 See more on www.artlyst.com -- ArtBitch 2009

Tuesday, 17 November 2009

Angela Palmer Ghost Forest Installation Trafalgar Square London

Ghost Forest Angela Palmer
© photo/text Paul Carter Robinson ArtLyst
I went to see the amazing Ghost Forest installation in Trafalgar Square created using ten tree trunks imported from the rain forests in Ghana by British artist Angela Palmer. Most of the trees were originally the height of Nelson’s column and these stumps and roots are the remains of these once great trees. The exhibition highlights the 90% decimation of Ghana’s rainforests. The instillation will now be shipped to Copenhagen in time for the climate Change Conference 7-18 December. The artist has made this statement,” The connection between deforestation and climate change, and the challenge to express that visually, is the basis for my most ambitious and logistically challenging work yet. The concept is to present a series of rainforest tree stumps as a ‘ghost forest’ – using the negative space created by the missing trunks as a metaphor for climate change, the absence representing the removal of the world’s ‘lungs’ through continued deforestation. Over the past few months I’ve made several field trips to a commercially logged primary rainforest in Ghana where we sourced a group of 10 tree stumps. The Ghost Forest will be in Trafalgar Square in London until November 22, courtesy of the GLA, and will then be shipped directly to Copenhagen where it will be exhibited in Thorvaldsens Plads, a magnificent city centre square next to Parliament Square and the National Museum, to coincide with the UN Climate Change Conference The future of rainforests will lead the agenda at the UN conference, which will be attended by over 11,000 delegates from 192 countries”.
See More On: ArtLyst.com

Saturday, 14 November 2009

Ryan Gander : Lecture Pete & Repeat 176 Zabludowicz Collection 14 November 2009

I just attended a performance piece by the British artist Ryan Gander at gallery 176 / Zabludowicz Collection. It was in conjunction with the ‘Pete And Repeat’ exhibition, which has been running since September. Gander along with John Baldessari, Peter Coffin, Keith Tyson and others have contributed to the exhibition, which explores the theme of repetition.
Gander’s work covers an assortment of mediums ranging from Video, text, paintings, animation and lectures. Today’s piece took the form of a semi formal talk and explored the subject of authority and truth. It was presented to the audience as an academic lecture, although much of what was undertaken, in subject was derived from personal experience and family recollection. This created the atmosphere of an oral history and delved into homespun topics involving grandparents, the war and popular television programs. The subjects flowed as in a friendly conversation and different topics were introduced in a rhythm natural to the pace of a casual conversation. I don’t think anyone attending today’s lecture could have walked out of the rather drafty, former church hall without having a more intimate relationship with the artist, perhaps this was the point of the exercise. If you have never seen Ganders work, I would highly recommend a trip down to Pete And Repeat, which runs until 13 December. I have now successfully uploaded a video of my short interview with Ryan Gander, which is viewable on the ArtLyst1 channel on YouTube, http://www.youtube.com/user/ArtLyst1 or see more interviews, reviews and articles on www.artlyst.com Text and Photo © Paul Carter Robinson 14/11/09

Thursday, 12 November 2009

Royal College Of Art 'Secret 2009' Annual Exhibition of Postcards by A- Listers & Students

It's that time of year again and bargain hunters will be queuing up around the block, in order to pick up an original work of art by the likes of Julian Opie or Gerhard Richter for £40. Many big names have generously donated original works of art on postcards. The proceeds will benefit the Royal College of Art. Details are listed below.

THE EXHIBITION

RCA Secret is an annual exhibition and sale of original postcard-sized art, made by professional artists, designers and illustrators, plus the Royal College of Art’s current postgraduate students.

This year’s exhibition of over 2,000 pieces includes work by the renowned artists Bill Viola, Julian Opie and Grayson Perry.

Open at the Royal College of Art, Kensington Gore, London SW7 2EU from Friday 13 November until Friday 20 November 11-6pm, 11-8pm on Thursday 19 November. Free admission. The postcards will also be available for viewing on this website from Friday 13th November. The full exhibition will not be open on the morning of the Sale.

THE SECRET

The postcards are signed only on the reverse, so the author of each work remains a secret until after purchase, and the signature on the back is revealed.

Over 800 artists have donated work to RCA Secret 2009 so far, including Yoko Ono, Cornelia Parker, David Bailey, former Stone Roses guitarist John Squire, and animator Nick Park, as well as fashion designers Sir Paul Smith, Manolo Blahnik and Erdem. Many leading American artists have also contributed this year including Lawrence Weiner, John Baldessari and Alex Katz.

THE SALE

The cards, priced just £40 each, will be sold to the public in a huge one-day Sale on Saturday 21 November, 8am-6pm. You must register in advance of the Sale. If you would like to register please click here.

Please note: online registration will close on Tuesday 17th November (end of day).

Postcards will only be available to purchase in person at the Sale, (four per person).

First-Fifty Raffle tickets for a chance to win a place at the front of the Sale queue will be on sale at the Exhibition, until half an hour before the close of the exhibition on each open day.

For more news, photos, and tips visit our Facebook page.

All proceeds to the RCA Fine Art Student Award Fund, which supports student artists during their training at the Royal College of Art.

Paul Carter Robinson http://www.artlyst.com

Monday, 9 November 2009

Fall of the Berlin Wall “Work in Progess” by Manon Awst and Benjamin Walther

The Fall of the Berlin Wall was commemorated today with a “Work in Progress” by Manon Awst and Benjamin Walther. The giant ice sculpture was erected in Belgrave Square a London park close to the German embassy to mark this important 20th century event.see video on: www.youtube.com/user/ArtLyst1
When I spoke to the artists they had been up all night constructing the project."We had lots of coffee and are very pleased with the outcome of the installation".
The Official launch took place this morning with Duncan Sandys, Lord Mayor of Westminster together with Ben Bradshaw, Secretary of State for Culture, Media and Sport and German Ambassador Georg Boomgaarden, who organized the event to commemorate the fall of the Berlin Wall.This high profile art event utilized the backdrop of an 11.5 ft melting Ice Wall to point out the fragility of society in the 21st century. Walther explained, "there are still many walls around the world in need of demolition".

About the Artists:
Berlin-based husband and wife team Manon Awst and Benjamin Walther are sculptural performance artists who incorporate material such as gelatin, ice, gold, glass, and feathers into their investigations of power dynamics and the divisions between our bodies and our consciousness.

About the art work

The art installation “Work in Progess” was created by artists Manon Awst, UK, and Benjamin Walther, Germany, in cooperation with the company Eskimo Ice. A frozen 11.5 ft high fragment of a wall made out of ice will look as though it is about to crumble and fall. The image will be captured still, freeze-framed, to allow a moment of hesitation and reflection upon what is the continuous process of German unification, a continuum of both time and the German people themselves. The setting for the wall is a typical roadwork site, highlighting factors of process and time. Within the
fenced boundaries of the site, under the theatrical air of bright industrial lamps, a string of subtle, playful happenings will take place over the course of the day that hint at the chain of events that was finally able to melt the ice and bring the Cold War era to an end.
Creating an installation for this occasion not only provides scope to reflect on a powerful symbol which was once the expression of the political and ideological separation of the world, but also demands consideration of the divisions which still exist today. During the course of the day, the appearance and perception of the installation will gradually change: the ice wall will alter due to the subtle melting process, and external factors such as day and night, weather and passing traffic will all contribute to the peculiar character of the setting. The overall fleeting nature of the installation suggests that boundaries – both physical as well as mental and emotional ones – can be overcome.

Thursday, 5 November 2009

The Age of the Marvellous exhibition

Photo by ArtLyst © 2009

Age of the Marvellous, Holy Trinity Church, 1 Marylebone Rd, London 13-21 October was coordinated by the unorthodox partnership of Joe La Placa and Mike Platt of ‘All Visual Arts’ is a experiment in the art world. Both collectors, and dealers AVA only collect the work of artists they highly admire, and like dealers they then mount shows with which to promote this work to the wider public. Rather than taking on a gallery, situations appropriate to the exhibition proposed are found as and when they are needed, removing overhead costs and ensuring the most exciting of exhibitions. The Age of the Marvellous is the third such exhibition by the pair since their partnership in 2008. Inspired by the Cabinets of Curiosity, popular, in the late Renaissance and Baroque period these were rooms filled with natural wonders, art works and relics; in an era characterised by a revival of leaning such rooms symbolically conveyed the patrons control of the world, often the collections of rulers and aristocrats. It is the diversity of such collections which has inspired provided the framework for this exhibition; looking to a varied, cross-disciplinary approach each artist was commissioned to create works which ventured outside the boundaries of traditional art making. The cabinet of curiosity was constructed in order to incite awe, wonder and astonishment, it is this notion that informs the both the content and the situation of the exhibition. A theatrical notion is apparent through the method of entering the exhibition, the spectator is invited to draw aside a thick red velvet curtain in order to enter. Commencing in such a way, with a necessity for the observer to interact with the space immediately differentiates this from the open plan spaces of modern galleries, for example the Tate Modern. In a brave and successful move the viewer moves fist into two small, dark, rooms; minimal lighting removes the visitor from the busy street and into a new physical and psychological state. Outstanding within these rooms for is Ben Tyers’ Breathe (2009), drawing attention to this unconscious process within the viewer themselves Tyers promotes a synchronisation between the art and viewer and many consciously consider and alter their breathing to concur with the inanimate work. In a transition unashamedly created to insight awe the visitor is invited to again pull back curtains and move into the most spectacular space of the exhibition, the nave of the former church. Immediately captivating is Polly Morgans At the Beginning, a hanging framework apparently suspended by the flight of several birds. At the Beginning, inspired by a Victorian proposal for a flying machine is a hauntingly evocative work which is displayed to great effect within the vast nave. Confronting the viewer as they enter Morgans installation develops to become more than a work placed within a space, but one which is impacted upon and crucially one which impacts upon the majestic room. Dramatic shadows are thrown to the outer limits of the space impacting upon spectators, works surrounding it and the naves great mirrors. Even as a one turns away from the work in order to consider MccGwires alluring sculptural forms more intently the effects of Morgans work remain. This enigmatic space is filled with diverse works, referencing nature, power, intrigue, beauty and, in the case of Kate MccGwire’s forms simultaneously fear and repulsion. MccGwire’s Urge (2009) and Wrest (2009) are intrinsically disconcerting unidentifiable forms meticulously constructed from magpie, pigeon and jackdaw feathers. Whether these forms are emerging, evolving, escaping or dying each form appears to take on a living capacity, enticing the viewer yet simultaneously leaving the viewer unsettled by their writhing form.
Text extracted from The Pandorian Sara Kellett
See More Articles on http://www.artlyst.com

Sunday, 1 November 2009

ArtLyst Showcase for MAID Central Saint Martins Industrial Design Department

ArtLyst is proud to announce a partnership with MAID, The MA program of Industrial Design at Central Saint Martins London. Over the coming weeks ArtLyst, as a platform for cutting edge design, will be showcasing the best new international design available. http://www.artlyst.com

Thursday, 22 October 2009

Frieze / Zoo / Pavilion Round Up

The Frieze Art Fair was established six years ago in London’s Regent's Park and now ranks among the most important international art events in the calendar. This year featured over 150 stands displaying new works by the likes of Anish Kapoor, Julian Opie and Takashi Murakami. A new dimension was added to this year’s line up for new and emerging solo artists and their galleries called ‘Frame’. They certainly were a lively lot, by the look of the empties on the floor at the opening, Frame consumed by far the most alcohol at the fair. Frieze looked great this year and beyond the visual eye candy a message was prevalently scrawled on surfaces in paint, ink and neon. One such message by Jonathan Monk sculpted in bent neon read; do Not Pay More Than $20,000. A stand from Bucharest displayed a banner stating in red, “Long Live And Thrive Capitalism” and another gallery displayed a series of paintings exclaiming, The Days Of This Society Is Numbered in collage ripped from consumer advertising in the Sunday newspapers. Perhaps, you might think this was the sentiment of the “Frame” section sticking their middle finger up to the establishment. It would be an easy conclusion to surmise but this continued into section one with Dan Colen’s work, No Sex No War No Me. I suppose a bit of nihilism thrown in for good measure. If I were an archaeologist unearthing the remains of the Frieze Art Fair, preserved in a Pompeii style excavation, I would conclude that society in 2009 was in the throws of a looming disaster. The message, at least from many of the artists was a clear affirmation of last years western banking collapse. Lets face it many buyers of high end art are in financial difficulties. Art has always been an area reserved for the wealthy patron or the shrewd aesthete. It is a commodity with no intrinsic value, unlike gold and silver; it's simply worth whatever anyone is prepared to pay for it. Art goes up and down in value like stocks. It is, dare I say, a fashion, which has trends. Some artists overcome trends but others are obliterated and are erased from existence. After years and years of prices being pushed by the auction houses, Art is in for a reality check. I am a collector I don’t have a lot to spend, but I actually buy art with my disposable income. There was affordable art at the fair especially in the Frame section and although tempted by a number of items I left empty handed for the moment. Let us hope that some of the Goldman Sachs boys and girls came, as they announced profits of 3 Billion dollars this quarter and are set to dole out healthy bonuses this Christmas. See ArtLyst virtual tour of Frieze on: http://www.youtube.com/user/ArtLyst Zoo was rather a different atmosphere entirely. The crowd was a lot younger and they were wearing far less Marc Jacobs and Prada. The stands were more in keeping with patron, Anita Zabludowicz 176 Gallery and that is to say, rustic and earthy. The 19th century stable/warehouse buildings were in keeping with the art on display and it especially suited the video works, as the buildings were dark and spacious. I also enjoyed the enthusiasm of the less jaded and commercial galleries who had plenty of time to discuss the work on display. Some big names were on hand including the Chapman Brothers and an impressive floor piece by Richard Woods. Held within a new multi-site location situated in the East End, the producers of Zoo Art Fair created an event to rival Frieze. The adapted structures brought together over fifty contemporary arts organisations and practitioners, through a series of curated exhibitions and stand presentations including a section curated by Rob Tufnell. The collectors, curators, critics, dealers, artists and art enthusiasts were not disappointed.
Zoo 2009
remains a considered introduction to the next generation of art professionals. See ArtLyst virtual tour of Zoo on: http://www.youtube.com/user/ArtLyst
Pavilion of Art and Design opened on 13 October to the public in Berkeley Square, London. This was defiantly the fair for high-end “Modern” rather than “Contemporary” art. Pavilion, also held in a white marquee featured paintings and sculpture by some of the leading names in blue chip 20th century art including Picasso, Calder Leger and Egon Schiele. The fair also had a number of stands featuring the best of modern design including furniture, and object d’art. There was also some fabulous contemporary and modern jewellery designed by Arp, Ernst, Fontana and Calder at, Didier, who also has a gallery in Kensington Church Street. London lacks an international modern art fair to compete with France and the US. Frieze is a magnificent opportunity to simultaneously mount one. Such is the pull of Frieze that the art world now orbits around it for a few days in October. Sotheby's and Christie's also arrange their auctions to coincide with the fair season.
Photo Zoo 2009 © ArtLyst

What is ArtLyst

ArtLyst was conceived in London in June 2008 by a young team of entrepreneurial Fine Arts Graduates and Dealers. The directive of this project is to offer a platform for artists and designers to showcase their work online to a broad international audience. Artlyst offers the facilities to publish art related articles, reviews and exhibition listings which reach a wide readership.
The ethos behind Artlyst is all about Artists and dealers taking control of their own international PR and promotion. We are a London based enterprise which remains open to everyone and it is entirely free to use. The model has already been tried and tested by others, however our market research has shown that many of the other sites are difficult to navigate and have underlying commercial motives which are in conflict with the promotion of true connoisseurship in fine art.
visit us at: http://www.artlyst.com

Wednesday, 21 October 2009

Frieze & Zoo Art Fair Round Up London October 2009

I walked around Frieze with Antony Gormley on the day One & Other ended.

ArtLyst has just posted a news round up for Frieze and Zoo on: www.artlyst.com
We have also posted new videos of virtual tours of these events on :
Youtube: www.youtube.com/artlyst

Sunday, 6 September 2009

Abu Dhabi Overtakes Dubai As New Culture Capital Emerges ArtLyst Blog

Abu Dhabi is rapidly moving ahead of rival Dubai by initiating a far more interesting cultural development agenda. By 2013 the capital of the United Arab Emirates will boast an offshoot of the Louvre, a new Guggenheim museum designed by Frank Gehry, a National Museum inspired by the British Museum and a performing arts centre designed by the British-Iraqi architect Zaha Hadid. The program is intelligent, green and culturally civilized. If you are trying to attract tourists with a certain level of sophistication and spending power, then create something to do and see. Dubai seems to be going for the "ice cream and popcorn",Las Vegas crowd. They have created a vast shopping mall with casinos and Disney like theme parks void of heritage. Abu Dhabi is breaking away from this excess by adding something substantial and less disposable. This is leaving Dubai behind as all glitz and no content.

		Bischoff/Weiss Gallery

		Pilar Corrias Gallery Gallery

		Thomas Dane Gallery Gallery

		Stephen Friedman Gallery Gallery

		Ingleby Gallery Gallery

		Alison Jacques Gallery Gallery

		Annely Juda Fine Art Gallery

		Lisson Gallery Gallery

		Victoria Miro Gallery

		Stuart Shave/Modern Art Gallery

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