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Jane Lombard Gallery is excited to share that today Michael Rakowitz was announced as a winner of the next commission for the Fourth Plinth in Trafalgar Square, London.
The Invisible Enemy Should Not Exist is a project begun by Rakowitz in 2006 that attempts to recreate over 7,000 archeological artifacts looted from the Iraq Museum during the war or destroyed in its aftermath. For the Fourth Plinth Rakowitz will recreate the Lamassu, a winged bull and protective deity that stood at the entrance to Nergal Gate of Nineveh from c 700 B.C. In 2015 it was destroyed by ISIS along with other artifacts in Mosul Museum. The Lamassu will be made of empty Iraqi date syrup cans, representative of a once-renowned industry decimated by the Iraq Wars.
Click here for full press release.
Lee Mingwei (b. 1964, Taiwan) will give an artist lecture tonight, March 15, 2017 from 6:30-7:30PM at The Barnes Foundation in Philadelphia to discuss his work currently featured among 50 international artists in the exhibition Person of the Crowd: The Contemporary Art of Flânerie, on view through May 22, 2017. The diverse exhibition speaks to issues such as commodity fetishism, gentrification, gender politics, globalization, racism, and homelessness.
General admission tickets, $18
Member admission tickets, $9
For more information, click here
Iraqi-American artist Michael Rakowitz is one of five artists shortlisted for the Fourth Plinth Commission in Trafalgar Square, London, the most talked about contemporary art prize in the UK. Shortlisted artists also include, Pakistani artist Huma Bhabha, Mexican artist Damián Ortega, British artist Heather Phillipson, and Delhi-based trio Raqs Media Collective.
Rakowitz's proposal is a 14ft long reconstruction of Lamassu, a winged bull and protective deity that stood in the entrance to Nergal Gate, leading into the city of Ninevah from about 700 BC until is was destroyed by ISIS in 2015. Made from empty date syrup cans, the sculpture represents a huge Iraqi industry destroyed by wars.
"The hope is that this project intersects not only the cultural tragedy but the human tragedy and the ecological tragedy, so it becomes an effigy for all those things and it haunts. It is supposed to be a ghost more than a reconstruction."
Two winners, whose works will be installed in 2018 & 2020 respectively, will be announced in March 2017. The shortlisted proposals will be on view at The National Gallery, London through March 26, 2017.
Pier 70, Dogpatch, San Francisco, CA
SAN FRANCISCO - For Untitled San Francisco’s inaugural fair, Jane Lombard Gallery will exhibit Squeak Carnwath, Sarah Dwyer, and Carmen Neely: three generations of outstanding painters who continue to drive the medium forward by offering new discoveries, insights, and possibilities through their works and practice. Please join us in San Francisco from January 13 – 15, 2017 at Pier 70, booth A8.
Squeak Carnwath has been a leading figure in the Bay Area art world since the 1970s, with a signature style that incorporates meticulously applied layers of oil paint with text, repeated symbolic iconography, and abstract patterns, to create complex works which gradually reveal her personal exploration of representation and memory. Featured in the booth will be a salon-style hang of her notebook paintings, which offer witty and insightful commentary on painting, art, and the human condition, done in her masterful “trompe l’oeil” style.
Sarah Dwyer draws inspiration from art history and literature as well as her own personal history and childhood spent in Ireland. At Untitled San Francisco, we will debut four new paintings, including a companion piece to Protrero, which was shortlisted for the John Moores Painting Prize in 2016. Dwyer’s paintings reveal traces of memory through fragments of found imagery. Her rigorous process results in works that offer viewers a lush and nourishing experience, demanding careful viewing and re-viewing as new nuances and moments slowly reveal themselves over time. Possessing elements of both figuration and abstraction, they are a result of an intimate relationship between the act of painting, the unconscious, and intuition.
Carmen Neely is obsessed with gesture. Every stroke and splatter in her work—a combination of painting and found objects—is imbued with deep intention and awareness of her identity as a young black woman making art in the twenty-first century. “The mark”—revered and mythologized as the purest form of artistic intention by her (mostly) white, male predecessors in the art historical canon— becomes an act of subtle subversion in Neely’s paintings. Her attention to her own context in the broader sense is skillfully complemented by the fact that her work is also deeply personal and self-reflective, imbued with a lively sense of marvel and joy.
Jane Lombard Gallery has a rich twenty-year history with an established reputation for supporting artists who work within a global perspective and aesthetic relevant to the social and political climate of today. The gallery promotes both emerging and mid-career artists in a variety of media - painting, sculpture, installation and film - in the US, Europe, and Asia. Formerly Lombard Freid, the gallery re-opened as Jane Lombard Gallery in 2015 with an expanded roster and continued commitment to providing a platform for some of the most exciting artistic talents working today.