Coastal Gallery Blog




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’.



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.