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Be a Man! brings together work by seven artists, male and female, from the Twenties to the present day, and explores gender from the perspective of different nationalities, ethnicities and sexualities in an attempt to offer a broad examination of modern masculinity... Definitions of masculinity may have become more fluid over the past century – from the stiff-upper lipped male to today's 'metrosexual' – but as these pictures suggest, gender remains very much an issue of contention and debate. Together, what the photographs in this challenging exhibition demonstrate is that masculine identity, at its core, is often dictated by how an individual wishes to project of themselves – in short, gender is personal.
[click for article] Louise Donovan, The Telegraph, April 2013 Be A Man! [click for feature] L’Officiel Hommes, Spring/Summer 2013 Be A Man! [click for feature] Hunter Magazine, Spring/Summer 2013 Darren Harvey-Regan… doesn't just point his lens, click, and produce two-dimensional representational images. Instead, he is interested in the nature of the photographic and its relationship to the material world; the physicality of a photograph as an object that bears a representational image but is simultaneously a thing in itself. [click for feature] Anna McNay on A Shifting Sense of Things, Photo Monitor, March 2013 Blurring the boundaries between photography and sculpture, Exeter-born Darren Harvey-Regan's work challenges us to scrutinise the divide between an object and its representation. Armed with an MA from the Royal College of Art, and fascinated by the work of heavyweights such as Cy Twombly, John Baldessari and Bill Watterson, the sensitive and mature curation of his exhibitions is integral to the meaning of his work. [click for feature] Leanne Cloudsdale on Darren Harvey-Regan, AnOther Magazine, February 2013 That masculinity is often interpreted in ways that conflate violence with being a "real man" has pervasive individual and societal consequences. It's hard to look at the images in this exhibit and not perceive this subtext. The question of what masculinity is, and how it is culturally constructed, is becoming more common and relevant… Works by a diverse group of artists… explore how men are viewed, how they see themselves and how culture chooses to represent them. The works are a good representation of how granularly intersecting issues of race, ethnicity and sexuality are in the construction of gender. [click for feature] Preview of Be A Man!, Soraya L. Chemaly, 125 magazine, February 2013 Alex Chinneck replicates a smash [click for feature] Eleonora Usseglio Prinsi on Alex's Chinneck's 'Telling The Truth Through False Teeth' in association with Sumarria Lunn Gallery, Mark Magazine, December/January 2012/13 For his upcoming group show at Sumarria Lunn Gallery, titled The Fabricated Object and curated by Michael Petry and Sumarria Lunn, Turk has been placed beside the likes of Mona Hatoum and Mike Kelly, among others, in a questioning of the conceptual role assistants, and outsourcing plays in the way work is perceived by both the artist and viewer. [click for feature] An Interview with Gavin Turk, Art Wednesday, November 2012 Michael Petry's fascinating book The Art of Not Making: The New Artist/Artisan Relationship, published earlier this year, tackled this subject by speaking to both artists and their usually nameless fabricators, revealing how and why so much contemporary art is outsourced... Ponder these issues for yourself at Sumarria Lunn's latest exhibition, co-curated by Petry, which presents work by artists who outsource - including Per Barclay, Angela de la Cruz, Mark Hampson, Gavin Turk and Richard Wilson. [click for feature] Nuala Calvi, Mayfair Times, November 2012 Painting: Pulled, Stretched, Revealed [click for feature] Art Gallery Magazine (China), November 2012 You walked straight past the entrance, right? No worries- we've all done that. There's a narrow doorway hiding behind a blanket wall of hairy green foliage- a trapdoor to the fantastical world that is the Sumarria Lunn Gallery. The airy space lurking beneath is a breath of fresh, young air in regal Mayfair. The brainchild of Vishal Sumarria and Will Lunn, both in their twenties, the project is the end result of two years of nomadic pop-up art projects... Step aside for exhibitions from... British, American and Korean artists among others. Chloe McCloskey, Le Cool Mayfair Guide, November 2012 …Recasting the Gods at Mayfair's Sumarria Lunn Gallery, which explores the idealisation, manipulation and misunderstanding of the classical period. [click for feature] Matt Huckle, Square Mile Magazine, October 2012 This darker collection shows a younger generation entering an equally productive dialogue with the classical. Materials are the core of their responses: Meekyoung Shin's conceptually suggestive soap busts weathered by hand-washing; the past recast in broken graphite by Nika Neelova; Nick van Woert's mock-innocent weapons of white bronze; and Andreas Blank's apparent desire to give permanent value to the corporate office environment in agate, basalt, gypsum, quartzite, slate… Darren Harvey-Regan neatly perverts all that: he painstakingly painted the Photoshop checkerboard signifier of emptiness onto classical forms, only to photograph the results to yield what could have been a simply generated Photoshop look. Paul Carey-Kent on Recasting the Gods, Saatchi Online, September 2012 Recasting the Gods [click for article] Ruben Manrique Diaz, Neo2, September 2012 Chinneck's intervention… [is] a humanized kind of minimalism, infused with the reality of a post-industrial cityscape, and the rampant social discrepancy coming in the wake of the East End's rapid gentrification. Like Rachel Whiteread's legendary cast of an abandoned Victorian terrace, "House," demolished the year of its construction, Chinneck's intervention has the charm of the ephemeral: the piece will exist only until the factory is demolished next November. But even after then, it could well remain as a fictional landmark. [click for article] Coline Milliard on Alex's Chinneck's 'Telling The Truth Through False Teeth' in association with Sumarria Lunn Gallery, ARTINFO UK, July 2012 …Packing another very serious punch, High House Gallery opens up its gardens to Dividing Line, an exhibition of contemporary outdoor sculpture presented in association with Sumarria Lunn Gallery... This exhibition aims to… shine a spotlight on contemporary outdoor sculpture. [click for article] Sarah Mayhew, Oxford Mail, July 2012 La Grande Peur du Feu [click for feature] Matthew Picton in Le Monde (special supplement), July/August 2012 Adam Dix and Tim Phillips [click for article] Elephant Magazine, Spring 2012 Opening shot: Matthew Picton [click for feature] Blueprint, April 2012 Most often appreciated as windows into the past or as exquisite works of craftmanship, artist Matthew Picton expands mapping-as-art into the realm of political and cultural commentary [click for full article] William Irwin on Matthew Picton: Urban Narratives, Prospect Magazine, March 2012 Sumarria Lunn in the West End have consistently… staged coherent and intelligent group shows. They represent Glasgow-based Littlewhitehead (Craig Little and Blake Whitehead), who are subversive in the manner of the Chapman Brothers. They aim to attack the comfort of received ideas by realizing the traumatic sights that are so routinely represented by the media as hyper-real sculptures. Littlewhitehead were likewise featured in The Saatchi Gallery – Newspeak – British Art Now exhibition. - - - - - - - - - - - - - - |
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OUR ARTISTS HAVE RECEIVED PRESS WITH- Art Forum and The Observer among others: David Rickard and Tommy Stockel at LoBe [click for review] Julia Gwendolyn Schneider on David Rickard at LoBe (Berlin), Von Hundert, December 2012 What animates these maps is not simply the inspired fusion of form and content but also their simultaneous engagement with order and chaos. A map is a diagram– an abstraction, a simplification of reality. Picton’s maps struggle in the opposite direction: to tell us more, to remind us, to provoke and contradict, with the result that they are both more and less than the thing they represent. Emily Hall on Matthew Picton at Christopher Henry Gallery, Artforum, March 2012 Solo Focus [click for article] Manon Braat on David Rickard, Kunstbeeld, February 2012 The animal kingdom, or rather how we see it, is the subject of recent graduate Darren Harvey-Regan's meditative show of photography and installation, A Collection Of Gaps. In his series Elisions, a drawing of a bird is carefully labelled all the way from its upper mandible to its hind toe. Sombre photos recalling museum catalogues depict 3D depictions of creatures against dark backgrounds, including a taxidermy badger swathed in plastic. What seems to be a real live mouse pauses above his reflection in one shot. What it's looking at and what we're seeing, naming and embellishing with our own uniquely human anthropomorphisms, are a universe apart, no matter how many scientific tags and labels we might impose. Skye Sherwin on Darren Harvey-Regan at Phoenix (Exeter), The Guardian, July 2011 Littlewhitehead’s work taps into the pervasive sense of anxiety and loss that results. Their approach veers from comically grisly (a bloodied burlap bag hanging by a noose from a leafless tree) to oblique (paintings and photographs that pause and condense car wrecks and suicides in the manner of film stills)... poignant and promising... [click for full review] Leah Ollman on littlewhitehead at Marine Contemporary, Los Angeles Times, May 2011 Presented are a rich, philosophically entwined series of images and sculptural pieces featuring animals, either as artefacts or humorous victims of some form of ontological joke... Harvey-Regan’s work is arresting not just because of it’s immaculate execution but because the entangled references play against one another creating an intertextual fabric of thought and images. Tom Trevatt on Darren Harvey-Regan at Room Gallery, The Exhibitionary Complex, May 2011 It Happened in the Corner is very much of its time: blackly humorous, slightly threatening and dripping with references from the art world, the similarly unsettling realist figurative sculptures of Duane Hanson, and the real world hoodies, the homeless, street gangs. Based in Glasgow, littlewhitehead are a collective who summon up our collective fears. This sculpture is a group of hooded figures clustered, their backs to the viewer, in a corner of the gallery. Here, the viewer feels like a bystander who happens on a violent incident, is drawn to it, but not enough to risk his or her own safety by interfering. The work gives us licence to stand and stare with impunity. Sean O'Hagan on littlewhitehead at Newspeak: British Art Now at the Saatchi Gallery, The Observer, June 2010 |