12 x 18 cm
In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces. The artist chose to depict the space before and after, thus creating the series titled “After the Archive Collections Room.” This group of paintings displays a space locked into time with its scaffolding and broom exposed, depicted just before an exhibition on a collection of archives.
The hyper-realistic paintings of Andrew Grassie combine know-how and classic technique with a conceptual approach. “Painting as document” as the artist suggests consists of exhibition or studio views that are photographed and maintain their same scale. The question of the exhibition, the choice of works, and their hanging appears central to Andrew Grassie who like a curator creates protocols to create his series. In “Group Show” (2003), he assembles a group of works, photographs them one by one, and uses the photographic support putting as a matrix for further paintings. The exhibition only exists through this final painting, like in his other project “Tate New Hang” (2004-05) which shows points of view of the hanging of the collection, later to be realized to be in painting. The paintings are hung in the location suggested by the terms described. Andrew Grassie was born in 1966 in Edinburgh, UK. He lives and works in London.
“BC/AD” (Before Cancer, After Diagnoses) is a video of photographs of the artist’s face dating from early childhood to the month before he died, accompanied by the last diary entries he wrote from April 2004 to July 2005 (entitled “50 Reasons for Getting Out of Bed”), from the period from when he lost his voice, thinking he had laryngitis, through the moment he was diagnosed with lung cancer and the subsequent treatment that was ultimately, ineffective...
This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...
Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
The Fifth Quarter might have taken its mysterious inspiration from the eponymous Stephen King story collated into the Nightmares & Dreamscapes collection...
Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...
Her 2016 video installation quotes the sitcom-as-form and also draws from a 1907 comedic short, Laughing Gas...
Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube...
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In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year...
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...