curators Archives - Page 2 of 3 - Trebuchet Magazine

Hanging Offence : Proud Galleries

24/06/2013 Trebuchet Magazine

Classic, limited edition printed photography in an age where most people have cameras in almost every electronic device they own (read more)

A picture of Sophia Starling's Fluor Red

Hanging Offence : Jerwood Charitable Foundation

10/06/2013 Trebuchet Magazine

It’s a travesty that political society, for the most part, doesn’t value artistic thinking and exploration as it should. This civilisation will be poorer in all ways as a result. (read more)

Hanging Offence : Scream

27/05/2013 Trebuchet Magazine

‘our aesthetic is bold, bright, high impact works with an emphasis on the skill or craft of creating works of art’ (read more)

They would then stalk, with a suitably knowing sneer creasing their upper lips, around the space and direct small troops of eager attendants to move paintings a little to the left or a little to the right. (read more)

Hanging Offence : The Residence Gallery

06/05/2013 Trebuchet Magazine

I want this gallery to see through the golden cage of the absolute to the highest realms of freedom and possibility. (read more)

Hanging Offence : Charlie Dutton Gallery

22/04/2013 Trebuchet Magazine

‘communications between gallerists, artists and the viewers can become misunderstood: rudeness, anxieties and insecurities are a lethal cocktail’ (read more)

Hanging Offence : Ruth Garde

15/04/2013 Trebuchet Magazine

‘I’m not sure there is such a thing as an artistic controversy, but there have certainly been many controversies surrounding art’ Ruth Garde, curator, talks to Trebuchet about Michaelangelo, Bernini and contemporaty artists such as Omer Fast. (read more)

Hanging Offence : Erarta Galleries

08/04/2013 Trebuchet Magazine

‘although much of the popular appeal of contemporary art is in its ability to provoke, we need to be mindful of the media, politicians and governments in relation to the arts’ Erarta Galleries’ Beth Morrow (read more)

Hanging Offence : Jester Jacques

26/03/2013 Trebuchet Magazine

Not being able to have a physical gallery space has been challenging. But it in a way it is good, as it forces us to always look for projects that we wouldn’t otherwise and some pretty cool collaborations have come out of it (read more)

Hanging Offence : Karin Janssen Project Space

19/03/2013 Trebuchet Magazine

There is sometimes a tendency to overwrite, overanalyse, overcomplicate and over-theorize art. This might be an English thing, I’m not sure about that. Hanging Offence : Karin Janssen Project Space (read more)

Hanging Offence : Galleries Goldstein

15/03/2013 Trebuchet Magazine

I think it’s very hard to be controversial any more, it’s just become irrelevant and usually any one trying to do this with their work is doing it to get noticed, which usually, in my opinion, makes for dull work. (read more)

Hanging Offence : Fishbar

11/03/2013 Trebuchet Magazine

Hard to say why I did, but I ended up in London and discovered art as a new language to talk about everything I was discovering. It was scary and exciting and still is. (read more)

Earnest Endeavours | Mono/Poly

06/03/2013 Trebuchet Magazine

Secret Video Invite : MONO/POLY + FREE THE ROBOTS EUROPE TOUR MARCH 2013. Thurs 14-Mar-13 @ Village Underground (read more)

Hanging Offence: GV Art

04/03/2013 Trebuchet Magazine

‘I am often attracted to art that is so challenging it feels as though it has hit me in the gut leaving me speechless and tangled in thoughts’ (read more)

Meg Cranston & John Baldessari [Interview]

25/02/2013 Nicola Anthony

‘Instead of Catholicism or religion, now we are programmed by the corporations’ . Artists Meg Cranston and John Baldessari talk to Trebuchet’s own artist in residence – Nicola Anthony (read more)

Hanging Offence : James Hyman Gallery

18/02/2013 Trebuchet Magazine

Controversy assumes that what artists are producing really matters. Otherwise, all it is is marketing or publicity. (read more)

Hanging Offence : Lahd Gallery

12/02/2013 Trebuchet Magazine

I got involved with the art world in the beginning just so that I could give the women artists from the Gulf, who were under-represented at the time, a chance to show their works and to have a bigger voice in the wider world. (read more)

Becoming Picasso : Courtauld Gallery

28/01/2013 Sean Keenan

Picasso responded immediately to the art and culture that surrounded him in Paris – in the first part of 1901 he devoured the sights and excitement of the city and its artists. In the second part of the year, he responded more deeply and profoundly to the culture of symbolism and its creative possibilities. It was as if Picasso was digging ever deeper into the languages of art he found in Paris. (read more)