Cornelia Parker

2022

Exhibition

Plinth Art & Design Takeover

12 Dec 2022 – 16 Jan 2023

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KOKO

London, United Kingdom

Event

Cornelia Parker: Light Passes, Shadows Fall - Closing Event

17 Sep 2022

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Cristea Roberts Gallery

London, United Kingdom

2021

Jeremy Dellar, postcard artwork raising funds for Art Refuge

Exhibition

Wish You Were Here

01 Dec 2021 – 04 Dec 2021

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Yorkton Workshops

London, United Kingdom

2020

Exhibition

Faster Than Ever

04 Dec 2020 – 02 May 2021

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Ikon

Birmingham, United Kingdom

Exhibition

Cornelia Parker: Through a Glass Darkly

23 Oct 2020 – 19 Dec 2020

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Cristea Roberts Gallery

London, United Kingdom

2019

Exhibition

The Freud Museum Tenth Anniversary Portfolio (1997)

16 Sep 2019 – 26 Oct 2019

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A&D Gallery

London, United Kingdom

Exhibition

On Paper

26 Feb 2019 – 18 May 2019

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Thelma Hulbert Gallery (THG)

Honiton, United Kingdom

Cornelia Parker RA Beautiful Glass (Broken), 2015 Polymer photogravure etching 26.5 x 29 cm Edition of 70 Courtesy of RA Editions

Exhibition

In Edition 6th June - 6th July

06 Jun 2019 – 06 Jul 2019

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bo.lee gallery

London, United Kingdom

Marcel van Eeden, Untitled 2018 Coloured pencil on paper, 19 x 28 cm Courtesy the artist and Drawing Room

Exhibition

Drawing Biennial 2019

20 Feb 2019 – 26 Mar 2019

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Drawing Room

London, United Kingdom

2018

Talk

‘Avoiding the Object’ with artist Cornelia Parker, O.B.E.

26 Jun 2018

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Freud Museum

London, United Kingdom

Exhibition

Print Project Space: New Editions

01 Sep 2018 – 22 Sep 2018

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Cristea Roberts Gallery

London, United Kingdom

Kate Blacker, Mont Saint Victoire, 1982, Arts Council Collection, Southbank Centre, London © the artist

Exhibition

On Form

26 Jan 2018 – 22 Mar 2018

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Peterborough Museum

Peterborough, United Kingdom

2017

Tulip 'Helen Josephine' 1975 by Rory McEwen, Watercolour on vellum

Exhibition

Turkish Tulips

29 Jul 2017 – 05 Nov 2017

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The Bowes Museum

Barnard Castle, United Kingdom

Exhibition

Nature's Alchemy

24 Nov 2017 – 06 Jan 2018

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bo.lee gallery

London, United Kingdom

Social media has made ventriloquists of us all – through our online profiles and timelines we speak in quotations, found images, videos and music, each of us creating a unique assemblage that expresses an individual sense of self. Speaking through found media has become a shared language, a common tongue. Collage, as a medium, has never been more relevant. Thinking about the ubiquity of this new form of assemblage offers us a lens through which we might consider, or reconsider, artworks made in the medium of collage. Clement Greenberg’s seminal text ‘Collage’ attributed the invention of the technique to Georges Braque and Pablo Picasso – in its relatively short history how has the medium changed, and how has our reading of it changed? In a world saturated with images, how do contemporary artists arrest our insatiable consumption of images and help us to focus on looking? In Tim Davies’ series of sanded postcards ‘Bridges’ are meticulously removed from their contexts, their surroundings delicately excised with a scalpel. Cristina Garrido, by contrast, seeks to remove all but context in her series ‘Veil of Invisibility’, painstakingly painting over the artworks depicted in a group of postcards purchased from museum gifts hops. Among the 22 postcards that Garrido has overpainted is a piece by Susan Hiller, one of Britain’s most influential artists, whose 1983 work ‘Towards an Autobiography of Night’, included in IN QUOTES, is the earliest work in the exhibition. The 12 C-type photographs are enlargements of postcards depicting rough seas of the British coast, hand painted by Hiller with gold ink, and explore the transformation of materials, the tradition of the sublime, and homage to the unknown photographers and artists of the original postcards. Hiller’s influence can be seen in Holly Stevenson’s ‘Palmy Bonheur’ works, which have been framed with reference to the format of another of Susan Hiller’s seminal postcard works. Stevenson is interested in the philosophical argument that art is a promise of happiness and her work is concerned with symbols and materials that reference bonheur. Stevenson’s use of bright floral imagery is echoed in the work of Alex March, whose collages combine flowers with antique studio portraits, and explore themes of removal, concealment, revelation and what those strategies might hint at. The photomontages by Linder also depict flowers – dancers whose heads have been replaced with roses, and a man and woman with their eyes obscured by blooms. A pioneering feminist artist, Linder’s work calls into question the politics of gender and the commodification of the human body. Sharon Kivland’s series MOI, 2016/17 shares a dialogue with Linder’s exploration of the representation of women, in a group of hand drawn straplines taken from magazines of the 1950s. In contrast to Kivland’s elevation of quoted text, Rowena Hughes’ sculpture ‘Undue Flexure’ denies the viewer access to the text contained within the reference books that she has bound with elastic bands to form an assemblage that explores the status of books as objects in a post internet age. The transformation of books is also explored in a group of collages by Ann-Marie James. Constructed from the pages of a first edition of André Malraux’s seminal work ‘Le Musée Imaginaire’, Ann-Marie James uses a variety of techniques to create her own imaginary museum; pages are woven together, punched with holes, or a single page is cut and folded to partially reveal the image on the other side. This interest in obscuring and revealing elements of an image is central to John Stezaker’s ‘Masks’ series, in which the facial features of stars in film publicity portraits are overlaid with found postcards depicting landscapes, creating new meanings and characters. This minimalist approach to the layering of imagery is shared by Jorge De La Garza, whose collages combine a range of imagery including sphinxes from gravestones in Attica, women’s bodies, astronomical phenomena and references to commodities in everyday life. Cornelia Parker’s ‘Shared Fate’ gives new meanings to 5 objects – a newspaper, a loaf of bread, a tie, gloves, and cards – all of which have been cut by the guillotine that beheaded Marie Antoinette. In this work, the appropriated object (the guillotine) is at once both present and absent.

Exhibition

In Quotes: Collage And Assemblage In Contemporary Art

30 Aug 2017 – 07 Oct 2017

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East Gallery NUA

Norwich, United Kingdom

Exhibition

Drawing A Line Under Torture

08 Nov 2017 – 12 Nov 2017

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Bargehouse

London, United Kingdom

Exhibition

Cornelia Parker: Verso

16 Jun 2017 – 05 Nov 2017

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The Whitworth

Manchester, United Kingdom

2016

Exhibition

War Machine

25 Jun 2016 – 29 Aug 2016

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The Collection & The Usher Gallery

Lincoln, United Kingdom

2015

Exhibition

The Multiple Store @ Canary Wharf

21 Sep 2015 – 13 Nov 2015

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Canary Wharf

London, United Kingdom

Exhibition

Periodic Tales: The Art of the Elements

03 Oct 2015 – 13 Dec 2015

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Compton Verney

Compton Verney, United Kingdom

Art Fair

Multiplied Art Fair

16 Oct 2015 – 18 Oct 2015

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Christie's

London, United Kingdom

Tony Cragg, George and the Dragon, 1984. Arts Council Collection, Southbank Centre, London © the artist

Exhibition

Making It: Sculpture in Britain 1977 – 1986

01 Apr 2015 – 21 Jun 2015

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Yorkshire Sculpture Park

Wakefield, United Kingdom

Exhibition

Cornelia Parker: One Day This Glass Will Break

12 Oct 2015 – 14 Nov 2015

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Cristea Roberts Gallery

London, United Kingdom

2014

Exhibition

Indeterminacy

28 Nov 2014 – 27 Feb 2015

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Large Glass

London, United Kingdom

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