Coastal Gallery Blog



Saatchi Gallery – December 6-13

Head to Chelsea’s Saatchi Gallery between December 6 – 13 for an exhibition of contemporary abstract and photo-realist artworks. Many of the artists showcased are recent graduates from the UK, whose work will be up for auction following the exhibition. Saatchi Gallery, December 6 – 13, entry is free. The auction will then take place on December 13 from 6-9 pm.<>


Atalier E.B – Serpentine’s Sackler Gallery

The ultimate art-retail experience is currently on offer in Serpentine’s Sackler Gallery courtesy of Atelier E.B, the collaborative enterprise of artist Lucy McKenzie and designer Beca Lipscombe. For the deeper of pocket the atelier’s latest collection of artisan-made, artist-designed togs—which goes under the title Jasperwear and fuses Neo-Classical, Amazonian and Scythian themes—can be ordered from an elegant bespoke showroom. As well as being artfully arranged in a chic display and a facsimile shop window, these multi-referential (and eminently wearable) garments are also set within a wider environment devoted to the history of display in consumer culture, ranging from historic sculptures, archive photographs and classic mannequins made by the designer Adel Rootstein (including one of the singer and actress Elaine Paige). There are also a number of striking artistic collaborations—look out for a tapestry of Marc Camille Chaimowicz made by Elizabeth Radcliffe, Lipscombe’s mother. For those on a more limited budget there’s also a diffusion range available in the gallery shop for the entire run of the show.


Annie Albers Review – Tate Modern until Jan 27th 2019

Despite its name, modernism sure had some old school failings. When Anni Albers got through her first year at experimental German art school the Bauhaus in 1923, she was kept away from disciplines like painting and sculpture and was shoved roughly towards something more suitable for a woman: weaving.
But Albers took her shitty stick and ran with it, diving into the world of textiles to create a body of work that totally changed what the use of fabric meant. In her long life of abstract geometric innovation, Albers may just have become the most modern of all modernists. Her work here isn’t restricted to just painting or sculpture, and it’s not ‘merely’ decorative fabric. It’s all of these things: it’s handmade but industrially designed, unique but replicable.
The show opens with a loom, so you know, immediately, that what comes next is the result of a relationship between human and machine. Lots of Albers’s work, especially the early pieces, have a purpose: they’re not ‘just’ art. One piece is a sound proof fabric for an auditorium which glistens and reflects. Other designs, all exploiting the loom’s knack for near geometric perfection with criss-crossing perpendicular lines, are intended to become bags, bedspreads or wall hangings.
By the time Anni and her husband – the great painter Josef – fled the Nazis for the USA, she’d started to conceive of purely ‘pictorial’ weavings: fabrics as art and art alone. Now the lines and shapes start to loop and dip, they raise out of the surface like keloid scars, judder like static across the fabric. This is Albers in free flight and it’s gorgeous. Then come prints – including an awesome set of white impressions – moving religious memorials, designs for dorm rooms, swirling carpets and knotty drawings.
Yeah, the show can feel a lot like walking through Habitat, but maybe that says more about the impact of Albers’s designs than anything else.
Because what you see here in these rooms is walls being knocked down. Art, sculpture, textile, craft, industrialisation, ancient traditions, modern methods: each piece you see chips away at the distinctions between all of these things. Hers was a fight against restrictions and restraints: being forced into weaving, having to work within the narrow lines of the loom, living in the shadow of her husband. And at every turn, she weaved her own magic and triumphed.


NEW ! – The Perfumer’s Story by Azzi

Along with the hugely successful launch of her personalised fragrance concept, ‘The Perfumer’s Story by Azzi’, the award-winning perfumer Azzi Glasser launched her fragranced candles, opening a new window on the sensory ‘Perfumed Architecture’ of home living. Azzi – who has collaborated with some of the world’s leading hotels, galleries and A-listers – has created a unique five-piece candle range designed to bring unique character & style to the different interiors and living experiences around the home. Perfectly tailored to match scent personality with living space. Each candle emits specific moods of warmth, richness or sheer decadence, transforming each room with a fresh identity and ambiance. Since October 2016, a collection of five candles have been available. Customers have been able to choose from the sensual dark flora of Fever 54, the intimate leather of erotic Tuscan Suede, the violet bohemian floral of Twisted Iris or the magnetic and welcoming patchouli and oud of Black Moss, together with the appetising and enticing Fig Ambrette. These sit alongside the 11 unique perfumes that make up The Perfumer’s Story. Commenting on the candle collection, The Perfumer’s Story founder Azzi Glasser explains: “I love being able to create art through the sense of smell. One of my earliest memories is the scent of an electrifying tropical rain storm where warm rain splashed on hot steamy pavements. My fragrances are all based around ‘Character and Style’ each with its own artistic story and reference, so it was a natural progression to want to extend this to the home – after all, home is a reflection of your personality, style and is therefore intensely personal”



Diane Nevitt was born in Macclesfield, Cheshire in 1955, moving to Devon in the early ’70s. Diane studied Fashion and Textile Design at Plymouth College of Art and then went on to study Textiles at Taunton College of Arts and Technology. Although having a love for textile design, Diane’s first love was painting; and she went on to become a professional artist.

In the early 1990’s, Diane studied for five years under the late renowned artist Robert Lenkiewicz. Under Roberts tutorage, Diane acquired a discipline of painting’s technical requirements including shape, tone and colour. She was described by Robert as ‘the loveliest of colourists’.

Over much of Diane’s career, she has taken inspiration from her many visits to Europe and especially her love of Italy. Diane’s second love is music, which played a great part in a series of early paintings such as ‘Music on the Island’ after Michael Galasso and even the bronze sculptures from Paris’ Musee d’Orsay.
Influences from the Art Nouveau movement and it’s Fin de Siecle paintings saw Diane’s paintings become more concerned with the timeless elemental nature of what lies beneath her work, rather than representation of the landscape.

“I have no preconceived ideas of how the painting will end up. Painting is like music, it must be built on discipline and a firm understanding of paintings technical requirements but at the same time allowing for a freedom of expression”.

Diane now works from an old converted cotton mill in the Cheshire countryside near where she grew up as a child.



The 16th edition of Frieze London and the 7th edition of Frieze Masters open to the public in the British capital on Friday, October 5, with preview days on October 3 and October 4. Frieze London, which brings together some 160 galleries from around the world, is broken into different groupings, including the Main section, the Focus section, and the new Social Work section, which will present the work of eight pioneering women artists who were active in the 1980s and ’90s. Frieze Masters will bring together more than 130 international galleries presenting work from throughout six millennia. Among the highlights at Frieze London are Berni Searle at Stevenson, of Cape Town and Johannesburg, Walter Pfeiffer at Paris’s Galerie Sultana, and Elmgreen & Dragset at Victoria Miro, of London and Venice; at Frieze Masters, highlights include Lenore G. Tawney at London’s Alison Jacques Gallery and a Court Nautilus Cup at Kunstkammer Georg Laue, of Munich and London.



Second Hepworth Prize For Sculpture Exhibition Unveiled In October ________________________________
________________________________ In October 2018 the Hepworth Wakefield launches the second Hepworth Prize For Sculpture exhibition. This year’s shortlisted artists are Michael Dean, Mona Hatoum, Phillip Lai, Magali Reus and Cerith Wyn Evans. Each artist has created a new work for display in the exhibition.Launched in 2016 on the occasion of The Hepworth Wakefield’s 5th birthday, this £30,000 biennial award was established to recognise a British or UK-based artist of any age, at any stage in their career who has made a significant contribution to the development of contemporary sculpture. The 2016 prize was awarded to Helen Marten.Simon Wallis, Director of The Hepworth Wakefield, said: ‘We created the Prize to encourage wider engagement and debate regarding sculpture – one of the most significant and rewarding visual art forms of our time. The breadth of work that will be on display explores the distinct approach to sculpture taken by each artist and it will allow our broad audience to experience the engaging richness of this powerful art form’. Michael Dean (b 1977) will present a new installation extending the investigations of his most recent work. Dean’s sculptures begin with his writing, which he translates into physical form – from letter-like human-scale figures in concrete and steel reinforcement to self-published books deployed as sculptural elements. His sculptures confront viewers with what he describes as ‘moments of intensity’ made from the matter of contemporary life – including doctored detritus, basic building materials, coins, crime scene tape, padlocks, and, most recently, the three-day food bank emergency allowance currently provided to a family of four in the UK.Michael Dean was born in 1977 in Newcastle Upon Tyne and now lives and works in London.In 2016, Dean was nominated for the Turner Prize and in 2017, he exhibited as part of the fifth edition of Skulptur Projekte Münster. In 2018, Dean will have a solo show at BALTIC Centre for Contemporary Art, Gateshead. In 2019, he will have a solo exhibition at the Museo Tamayo, Mexico City.



Explore six thousand years of art at Frieze Masters and Frieze London this October. View the fairs’ highlights to get a taste of what can be found at this year’s edition.<> Book your tickets now to avoid disappointment and save money. Tickets are limited and often sell out.
New Thursday Preview Passes to Frieze London & Frieze Masters: Be the first to see both fairs on Preview Day! New for 2018, Thursday Preview Passes give you early access to both Frieze London & Frieze Masters on Thursday and includes complimentary copies of frieze and Frieze Masters Magazine in a limited-edition tote bag, as well as 10% discount on selected editions from Allied Editions booth at Frieze London (one purchase only).
Other ticket options include Thursday Private View Passes with access to Frieze London or Frieze Masters from 5-8pm on Thursday.
Want to visit both Frieze London and Frieze Masters? The Combined Ticket grants access to both fairs on the same day (Friday, Saturday or Sunday) for the special price of £60 (booking fees apply).
Further offers include discounts for students and children, afterwork hours on Friday, and subscription deals for frieze magazine.
Enhance your visit by taking a guided tour with options including a Highlights, Emerging Artists and a Contemporary Icons. Private Group Tours are also available, providing a more tailored experience for specialised or private groups. For further information on group tours and bookings, email<>.
An exclusive opportunity for those interested in collecting art to explore the fair accompanied by an independent art specialist, Frieze Bespoke provides a personal introduction to galleries. Each Bespoke tour is created and curated with your interests and budget in mind. For further information and bookings, email<>.


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’.