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.
London Up and Coming, Ben Austin, Artery NYC, March 2012
Artist Matthew Picton's paper cities [click for feature]
Maura Judkis, Washington Post, March 2012
Controversial or 'equally unimportant' [click for article]
Jakub Koguciuk on littlewhitehead, Scottish Art News (published by the Fleming Collection), Spring 2012
Art Scene London [click for article]
Die Welt, December 2011
The show sees Grzymala take over the entire gallery with the installation, changing the way visitors interact with the space. It is the latest in a series of site-specific tape installations by the artist, who has previously exhibited at galleries including MoMA New York, the Tokyo Art Museum and the Drawing Room in London... While previous pieces have featured coloured tape, Grzymala has decided to work entirely with bold, black lines at Sumarria Lunn, resulting in a stunning installation.
Eliza Williams on Raumzeichnung - an installation by Monika Grzymala, Creative Review, October 2011
This particular small, but perfectly formed, show has Blue Curry, Ross Jones, littlewhitehead and Tim Phillips in a dialogue about the aggravations of modern life. The stand out work for me is Tim Phillips' Hyperion. A gloriously over-the-top corporate logo for a future age. Inlaid wood in dynamic shapes is intercut with vinyl and backlit by LED lights. Russian suprematism meets corporate America.
Akickupthearts on Modern Frustrations, September 2011
A considered and intelligent response to the modern world's tendency towards information overload.
Tom Jeffreys on Modern Frustrations, Spoonfed, September 2011
Another dimension [click for article]
Photography As Object exhibition, Elle Decoration, August 2011
In this small yet well-put-together solo show at Sumarria Lunn, Rickard relinquishes part of his artistic control and lets the unknown creep in; the two are collaborators and the results are surprisingly coherent.
Laura Bushell on Time+Trace, Art Slant, June 2011
Yun-Kyung Jeong interview with the BBC [click for programme]
Harriett Gilbert, BBC, May 2011
Axonometric skewing of perspective is a classic method for conveying depth, and Jeong's compelling canvases do so in a variety of remarkable ways. This show suggests that we should expect rich offerings from Sumarria Lunn as they make their mark in Mayfair.
Dr Ayla Lepine (Courtauld Institute Visiting Lecturer) on the Yun-Kyung Jeong exhibition, Whitehot Magazine, May 2011
...a stunning collection of works [click for full review]
Emma Field on the Yun-Kyung Jeong exhibition, Big Issue, May 2011
This globally ambitious young gallery launches its Mayfair space... with Jeong's hybrid landscape paintings. [click for full article]
Jackie Wullschlager, Financial Times, May 2011
Mayfair's new art gallery. [click for full article]
Nancy Groves, The Independent, April 2011
Presented by SUMARRIA LUNN, the provocative work of Glaswegian art collective "littlewhitehead" was pointedly humorous and witty - if not a little dark for some. Emphasised by a smart, and decidedly cute, move to install the work outside of the tradition Fair stand- you are forced to confront the pieces as they become part of the narrative of the occasion. Against a background of endless Damian Hirst prints, these brutally honest installations might sit uncomfortably in penthouse apartment but are more than at home here.
Bethany Rex on littlewhitehead at the London Art Fair 2011, Aesthetica Magazine, January 2011
Korean artist Sungfeel Yun operates at the boundary of art and science by returning to the classroom favourite of iron filings with surprisingly persuasive results. He embeds the filings in resin, then uses magnets from the back of the canvas to drag them into swirling fluxes which have a painterly feel front-on and a more sculptural presence from some angles. He then submits selected areas to rusting, so adding to the contrast of elements: solar images usng earthy materials, positive and negative forces, metallic strength in a delicate form.
Paul Carey-Kent on Sungfeel Yun, Saatchi Online, October 2010
The exhibitionexcels in its curation. James Ireland’s deceptively simple ‘You get What You Desire, You Take All That You Can, You Wait For No One’ plays with the perspective of the space, disorienting the viewer and placing them within a sleek grotto, the mirrors and coloured screens distorting the natural surroundings, and turning an organic environment into a bite-sized metropolis straight from the steel tundras of Blade Runner. Conversely, Douglas White’s ‘Black Palm’ is camouflaged against the foliage and only revealed to be a sculpture on closer inspection.
This show pumps some life into the outdoor form with a lot of class and an irresistibly wicked sense of humour.
Kate Weir on Exteriority: an exhibition of contemporary outdoor sculpture, Spoonfed, September 2010
Another gallery making a name for itself is SUMARRIA LUNN, run by partners Vishal Sumarria and Will Lunn. Fresh-faced Lunn, who claims to be the UK's youngest contemporary art dealer, spends half his time dealing and the other half studying at London's Courtauld Institute...At the London Art Fair Lunn was enthusing about the work of British artist Claire Burbridge, whose arresting sculptures in clear cast resin tinted with pigment recall both the uncanny strangeness of Hans Bellmer's dolls and the fragility of Medardo Rosso's wax heads.
Tom Flynn, The Art Key, January 2010
Gallery SUMARRIA LUNN, whose co-director, Will Lunn, is a mere twenty-one and running the gallery while still at university, included pencil on paper works by Ross Jones on their stand. Jones takes architectural modelling as a formal subject matter but relieves the buildings of any surrounding urban clutter, leaving them as bare, monolithic, self-reflective testaments to their own spatial and economic endeavour.
Oliver Basciano, Art Review, January 2010
Sotheby's is supporting this charity auction in aid of the immensely worthwhile Medical Foundation for the Care of Victims of Torture. The 70 artworks for sale span the British contemporary art scene, including pieces offered by Paula Rego, Howard Hodgkin, Peter Blake, Cornelia Parker, Michael Craig Martin, Sarah Lucas, Gavin Turk and Mark Titchner.
Jackie Wullschlager on the Medical Foundation Art Auction curated by SUMARRIA LUNN, Financial Times, November 2009
Some of Britain's most prominent contemporary artists have donated works to the Medical Foundation Art Auction, whose proceeds will support the victims of torture. A brilliant-red triangular work, created by former Turner Prize nominee Mark Titchner for the auction, is branded with the message: "Not Now, Never". It is expected to go for at least £2,000. "Torture is an abomination", says Titchner. "The fact that it exists in any form is a stain on the human race. Supporting its victims is the least we can do."
Ruth Gillbe on the Medical Foundation Art Auction curated by SUMARRIA LUNN, The Independent, November 2009
What is particularly striking about the pieces is the technical ability of the artists, the fine delicate brushstrokes of Yun-Kyung Jeong and the draftsmanship of Ross Jones mark a return to artistry without resorting to the decorative; the political overtones in Ross Jones's deserted cityscapes, for instance, are crystal clear.
Amah-Rose McKnight-Abrams on the In A Word exhibition, Dazed Digital, June 2009
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