Coastal Gallery Blog



FOUNDATION LOUIS VUITTON PARIS – 2nd October 2018 – 14th January 2019

How Egon Schiele and Jean-Michel Basquiat changed the art world forever<>
Both prolific, both revolutionary, both dead at 28: Schiele and Basquiat, working at opposite ends of the C20th, single handily changed the course of art history.
Both artists sought to obliterate tradition, expectation and historical representations of human identity. Both sought to express the distress of human existence with aggressive distortions of the body. For both artists, line became the symbolic border between life and death and loss and trauma.
This autumn, to mark the centenary of Schiele’s death and the 30th anniversary of Basquiat’s death, the Fondation Louis Vuitton will present a major comparative showcase of their work. With many pieces never seen before in Europe, this artistic extravaganza will certainly merit a trip to Paris.
In five works, here’s how Schiele and Basquiat changed the art world forever<>.
[Jean-Michel Basquiat, Untitled, 1982] 1 | 5 <> Jean-Michel Basquiat, Untitled, 1982 <>
A child of the American Civil Rights Movement<>, Basquiat came of age in the late 70s when progressive post-punk art was thriving in downtown New York. With graffiti drawings, illicitly sprayed in subways, Basquiat and a band of counter-culture artists including Keith Haring and Jenny Holzer, fueled the appetite for anti-establishment creativity.
Once he left school, the street became his studio; the traumatised living body became his subject. Bleeding his local environment for inspiration, Basquiat’s intense and highly polemic scribbles challenged the status quo of New York’s established art market.
But he was in a small minority of African-Americans working and circulating in a predominantly white art world. As a result, Basquiat’s work is both bolder and bleaker than that of his contemporaries. People took note and Basquiat found his market.
WHEN 3 Oct 2018 – 14 Jan 2019 WHERE Fondation Louis Vuitton, 8 Avenue du Mahatma, Paris



Liberty Art Fabrics & Fashion
Dovecot Studios<>
28 July 2018 – 12 January 2019
50% off with National Art Pass<>
A major retrospective celebrating the innovative retailer and design studio, Liberty London.
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Liberty Art Fabrics & Fashion Exhibition at Dovecot Studios<> National Art Pass lets you enjoy free entry to over 240 venues across the UK as well as 50% off major exhibitions. Featuring over 100 garments and fabrics spanning 140 years, this exhibition explores how textiles bring art into everyday life. Liberty’s history as a source for key trends is charted …
Liberty of London, Kaftan, silk and satin with embroidery, 1960 © Liberty London. Image courtesy Fashion & Textile Museum
Featuring over 100 garments and fabrics spanning 140 years, this exhibition explores how textiles bring art into everyday life. Liberty’s history as a source for key trends is charted, including Aestheticism, Art Nouveau, Bauhaus, Pop and Psychedelia.
The exhibition presents a historical survey, from early garments inspired by the Far East and the Artistic Dress popularised by the Pre-Raphaelites, through to the iconic designs of the Swinging Sixties, nostalgic Arts & Crafts revivals of the 1970s and botanical prints from the 21st century.
Throughout its history, Liberty’s studio collaborations with textile and fashion innovators, including Yves Saint Laurent, Mary Quant, Jean Muir and Vivienne Westwood, have secured the company’s global reputation as the source and originator of key trends and design revivals. Such is the fame of Liberty that in Italy the Art Nouveau style became known as the ‘Stile Liberty’.



A huge, gloopy, multi-limbed, fleshy monster stares you out as you enter Lee Bul’s exhibition. And it’s not alone. Suspended from the ceiling are more of its blobby buddies and a battalion of pure white cyborgs. In the corner sits a silver and black behemoth among a landscape of shattered mirrors and blinking lights. It’s up to you to figure out if the Korean artist’s sci-fi dreamscape is actually a nightmare.
What you can know for sure is that there’s turbulence here. The artist grew up under a tyrannical, authoritarian regime. She saw what utopian ideals could lead to and it left her shaken. The result is a body of work that seems obsessed with cybernetics, the body, architecture and human enhancement but is totally unable to stop looking over its shoulder at the heaving dark clouds of history.
Although the galleries feel a little barren and under-done, this is still hugely powerful art. There’s an enormous tiled bath filed with black ink in one room, but the tiles are cracked, as if you’ve stumbled into the ruins of a fallen dictator’s war-ravaged bathroom. It’s a work about torture and death, about the silencing of protest, about a country falling apart. It’s horrible.
There are countless architectural models littered throughout the space, little future cities dotted with references to iconic buildings. Crystals pop up everywhere, shards of metal, robotic human figures; a sleek pod with karaoke machine promises eternal life, a mirrored maze leads to a room of infinite reflections. What Lee Bul is saying is that the things around us can have multiple narratives. They can be violent and gentle, soft or hard, real or fake. Everything has the potential to flip from one to the other.
Take the enormous inflated silver zeppelin that takes up a whole gallery – look at the power and beauty implied by the technology, but just wait for it to explode in your face and kill you.
Lee Bul’s work is a series of imagined futures overflowing with culture and history. It’s filled with the hope of utopia, but also a terrifying fear of what that might mean. This whole thing feels like a guess about what’s to come, about how our bodies might change with technology, or how cities might grow – but it’s also a prayer that it won’t be hell. There’s beauty an everything here, but an awful lot of threat, too. Bul is showing that whatever the future is, it isn’t going to be simple.



The Royal Academy<> Summer Exhibition is renowned for its chaotic, non-hierarchical ‘Salon Hang’, glamorous visitors and flourishing emerging arts scene. Originally quite a traditional affair – the Summer Exhibition has been running annually since 1796 – it is today the world’s biggest open submission art show, attracting an overwhelming number of entrants each year. The result is a heady concoction of classic and contemporary, with painting, sculpture, photography, printmaking, architecture and film sharing wall and floor space.
With the Royal Academy set to celebrate its 250th anniversary in majestic style later this year, the 2018 edition is set to be bigger and better than ever.
Distinguished academician Eileen Cooper was 2017’s guest curator. Tackling the provocative theme of ‘Welcome’, it may well have been the most eclectic Summer Exhibition yet. However, with Grayson Perry at the helm of the 250th anniversary edition, anticipation and expectations are running high.
The Summer Exhibition is always a completely different experience to any other show in London. It requires time and effort, and a lot of stamina, if you want to sidestep the hoarding crowds and bypass the mass of mediocre works on display. That said, it does also provide an unparalleled opportunity to discover emerging talent and pick up works by lesser-known and non-commercial artists.
As always, the majority of the artworks in the Summer Exhibition are for sale, in some cases for fairly affordable prices (the cheapest work in the 2017 edition was under £100). So, it’s the perfect opportunity for both new and seasoned collectors to expand on a multi-disciplinary art collection.
We can’t wait to see what Grayson Perry will do with the country’s most established, dare we say, conventional exhibition.
________________________________ WHAT Summer Exhibition 2018, Royal Academy WHERE Royal Academy, Burlington House, Piccadilly, London, W1J 0BD <> | MAP<> NEAREST TUBE Green Park (underground) WHEN 12 Jun 18 – 19 Aug 18, 10:00 AM – 6:00 PM
PRICE £18 WEBSITE Click here for more information<…>



The Top 8 Art Exhibitions to see in London this week 13/05/18
Art critic Tabish Khan brings you ‘The Top Art Exhibitions to see in London’ this week. Each one comes with a concise review to help you decide whether it’s for you. This week it’s been expanded to a top 8, as there are so many strong exhibitions closing this week:
Hermann Nitsch @ Massimo de Carlo<> Blood and paint splattered altars, a mock crucifixion and more gore than you’d ever expect to find in a Mayfair gallery. This is one of the most intense and powerful exhibitions I’ve seen recently … though it’s best to avoid visiting after lunch. Until 25 May.



The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy at Tate Modern
[Portrait of a woman by Picasso]
Relive one of the most important years in the Spanish artist’s career withPicasso 1932 – Love, Fame, Tragedy at Tate Modern. The display explores, month by month, the most important events in Picasso’s life and work during 1932. This was a pivotal moment in his career, culminating in some of his most famous paintings. Until 9 Sep


London Exhibition – Colour

Garry Fabian Miller: Voyage
Dovecot Studios
2 February – 7 May 2018
A new tapestry by Garry Fabian Miller extends the artist’s ongoing research into colour.
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Garry Fabian Miller: Voyage Exhibition at Dovecot Studios A new tapestry by Garry Fabian Miller extends the artist’s ongoing research into colour.
Garry Fabian Miller, Voyage into the deepest, darkest blue (detail), 2017 © Ken Gray
Garry Fabian Miller’s new tapestry, Voyage into the deepest, darkest blue, is the centrepiece of an exhibition of his recent body of work and some key early pieces from his career.
Applying craft ethos to digital printing, Fabian Miller’s current work extends his ongoing research into colour in photographic image, and into how an image comes into being both in print and in tapestry.
This exhibition looks closely at these processes, from the perception and selection of colour in tapestry to recent changes in digital photographic printing that have had a major impact on the artist’s work.
The exhibition also features a rarely seen image from the collection of the Victoria and Albert Museum by photographer Gustave Le Gray (1820-84), one of the first examples of a photograph made by exposing an image from two negatives.


TATE MODERN – Photography & Abstract Art

For the first time, Tate Modern tells the intertwined stories of photography and abstract art
The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.
Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.
Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.
Right [Maya Rochat A Rock is a River (META CARROTS) 2017 © Maya Rochat – courtesy Lily Robert]
Maya Rochat, A Rock is a River (META CARROTS), 2017 © Maya Rochat – courtesy Lily Robert
[László Moholy-Nagy, ‘K VII’ 1922] László Moholy-Nagy K VII 1922 Tate [John Divola 74V11 1974 Jack Kirkland Collection, Nottingham © John Divola]
John Divola 74V11, 1974, Jack Kirkland Collection, Nottingham © John Divola
[Barbara Kasten Photogenic Painting, Untitled 74/13 1974 Courtesy the artist and Thomas Dane Gallery, London © Barbara Kasten]
Barbara Kasten, Photogenic Painting, Untitled, 74/13 1974 Courtesy the artist and Thomas Dane Gallery, London © Barbara Kasten
[Man Ray Rayograph 1922 Private Collection © Man Ray Trust/ADAGP, Paris and DACS, London 2018]
Man Ray, Rayograph, 1922, Private Collection © Man Ray Trust/ADAGP, Paris and DACS, London 2018
[Aleksandr Rodchenko Radio Station Power 1929 Lent by Jack Kirkland Collection, Nottingham © A. Rodchenko & V. Stepanova Archive. DACS, RAO 2018]
Aleksandr Rodchenko, Radio Station Power, 1929, Lent by Jack Kirkland Collection, Nottingham © A. Rodchenko & V. Stepanova Archive. DACS, RAO 2018
[Alvin Langdon Coburn Vortograph 1917 George Eastman House, Rochester, New York © The Universal Order]
Alvin Langdon Coburn, Vortograph, 1917, George Eastman House, Rochester, New York © The Universal Order
[Wyndham Lewis Workshop c.1914-5 Tate Purchased 1974 © Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)]
Wyndham Lewis, Workshop, c.1914-5 Tate Purchased 1974 © Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)
[Maya Rochat A Rock is a River (META LOVE) 2017]
Maya Rochat A Rock is a River (META LOVE) 2017
TATE MODERN Bankside London SE1 9TG Plan your visit DATES
2 May – 14 October 2018
£16FREE for Members
Admission £18 (£16 Advance booking)
Concession £17 (£15 Advance booking)
Under 12s FREE (up to four per family adult)
Family tickets available (two adults and two children 12–18 years) by telephone or in the gallery
See Shape of Light and The EY Exhibition: Picasso 1932(until 9 Sep) for £32 with a combined ticket. Offer bookable via The EY Exhibition: Picasso 1932exhibition page


MARTYN BREWSTER – Northwest Gallery AUB

Upcoming Exhibition Exhibition in Northwest Gallery / Exhibition in TheGallery
Curated by Professor Simon Olding
1 March – 12 April 2018 Northwest Gallery, AUB
Brought to you in partnership with TheGallery, AUB and Waterhouse & Dodd, London. Martyn Brewster: The Nocturnes, a text + work exhibition at TheGallery, Arts University Bournemouth.
The exhibition Martyn Brewster: The Nocturnes at TheGallery, AUB is a selection of recent works including paintings and drawings by the long-time associate Martyn Brewster. The Arts University Bournemouth exhibited with Martyn when TheGallery first opened its doors in 1998, and has since held a selection of his work as part of the AUB collection.
For the last thirty years, Martyn has lived near the cliffs, open skies and beaches of Southbourne, Dorset. Inspired by natural landscape, the sea and the light, his images are based on abstract or landscape themes.
Whilst always being involved with painting and the use of strong rich colours, his most recent work introduces a more restrained palette into his evocative abstract paintings. Martyn’s vigorous poetic response to his natural surroundings is expressed in the vitality of the work, and the quieter approach heralds paintings of a fresh contemplative power and strength.
Martyn Brewster is a painter and printmaker, born in Oxford, 1952. He creates paintings, drawings and prints based on abstract or landscape themes. Martyn studied Painting at Brighton University followed by an MA in Printmaking instead.
He has had regular solo exhibitions in museums and galleries in London and across the UK, as well as in USA, Canada and Europe. His work can be found in private, public and corporate collections worldwide including the V&A, the British Museum, Russell-Cotes Art gallery, and recently Pallant House and the Hepworth Wakefield. Martyn has won numerous awards and has had retrospective exhibitions at Russell-Cotes Art Gallery and Museum (1977), and the Royal West of England Academy (2001), amongst others. Martyn Brewster has also taught in the Fine Art Department at AUB for 16 years (1988 – 2004), and was involved in developing the original BA (Hons) Fine Art degree course at the University.
A study of Martyn’s life and work was published by Professor Simon Olding and Mel Gooding in 1997. A study of his printmaking, Martyn Brewster: Prints 1975 – 2007 by Vivienne Light and Professor Simon Olding was also published in 2008. Martyn is represented by Waterhouse & Dodd, London and New York.



Tate Modern’s new exhibition, Picasso 1932, is a breathtaking display of one artist’s relentless and restless creativity. Running until September, it is already destined to be one of Britain’s cultural events of the year. Yet it embodies an unresolved paradox about the way that modern societies think about art. Picasso 1932 is exactly what the title suggests it is – a chronological survey of Pablo Picasso’s work during a single year, when the artist was 50 years old.
The exhibition at Tate Modern is laid out month by month, starting in January 1932 with several ebullient portraits of women and proceeding in stages to the darker work of November and December in the last room. In between, Picasso’soutput ranges prodigiously wide, from primitive sculptures and line drawings, through a set of pictures inspired by the octopus to another triggered by Matthias Grünewald’s early 16th-century Crucifixion.
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Chronology is the essence of the show. It focuses close-up on Picasso’s evolution in those 12 months. Yet here’s the paradox. Picasso himself disdained chronology. He thought of himself as someone who made new art. He was certainly interested in other art, like Grünewald’s, for example. He was always experimenting with subjects, line, colour and composition. But he wasn’t particularly interested in his own evolution or in his objectification as a significant historical figure. This disjunction is highlighted in the exhibition.
Back in 1932, Picasso curated in Paris one of the first retrospectives of his own work. Impatient with chronology, he deliberately mixed up his work from different periods – a device that is repeated in the June 1932 room of the Tate Modern show. To Picasso, his art needed no explanation. It existed as art, and not as part of a story. To the exhibition visitor, however, the chronology and the art are harder to separate.
Picasso is not the only artist who fought against attempts to impose chronology and meaning upon his work. His contemporary Igor Stravinsky was exactly the same about his music. Many others, before and since, have wrestled with attempts to categorise, judge or impose hierarchies on their work. Yet this is a struggle that can have no end. The artist always prefers to do new things in their own terms. But the viewer is always making connections and drawing conclusions that the artist rejects.
This is particularly important with Picasso. He expressed the visible in dazzlingly different ways. The late John Berger once called him “the master of the unfinished”. He didn’t mean that Picasso never finished his pictures. He meant that Picasso’s work is quintessentially the work of a particular moment, when the visible is always on the threshold of becoming the differently visible or the possibly visible. The brilliance of the Picasso 1932 exhibition is that it manages to be bring the two approaches together. It combines the actual – Picasso’s output of art – with the day-by-day possibility of paths not chosen. Picasso’s pictures and sculptures are objects now. But at Tate Modern they are objects of a creative moment. In this exhibition, creativity and chronology don’t repel; they reinforce.