John Stezaker on ArtRabbit

2024

Exhibition

N.B.

04 Mar 2024 – 29 Mar 2024

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rossocinabro

Rome, Italy

2023

Exhibition

Deep Horizons

10 Mar 2023 – 18 Jun 2023

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MIMA - Middlesbrough Institute of Modern Art

Middlesbrough, United Kingdom

2022

John Stezaker, Blue Double Shadow XII, 2020 Collage: Cut photographic reproductions on inkjet printed archival Photo Rag paper, 50.6 x 39.0 cm

Exhibition

John Stezaker: Double Shadow

24 Feb 2022 – 26 Mar 2022

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The Approach

London, United Kingdom

2021

Prunella Clough, Still Life: Heart, 1947/96

Exhibition

Body Image

02 Jun 2021 – 23 Jul 2021

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Austin / Desmond fine Art

London, United Kingdom

2020

Exhibition

Lasting Impressions

14 May 2020 – 31 May 2020

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Dellasposa

London, United Kingdom

2019

Exhibition

On Paper

26 Feb 2019 – 18 May 2019

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Thelma Hulbert Gallery (THG)

Honiton, United Kingdom

Exhibition

Light, observed

28 Jun 2019 – 17 Aug 2019

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KARST

Plymouth, United Kingdom

2018

John Stezaker Party II, 2003 collage cm 53,5 x 41,5 framed

Exhibition

Jamais laisser les photos trainer

17 May 2018 – 22 Sep 2018

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Galleria Monica De Cardenas

Milan, Italy

JOHN STEZAKER; Mask LXXIX, 2007, collage, Courtesy of The Approach, London. Photo: FXP photography.

Exhibition

In Quotes

17 Mar 2018 – 19 May 2018

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Gerald Moore Gallery

London, United Kingdom

Paloma Varga Weisz, Bumped Body, 2007 (detail), lime wood, copper plated, 94 × 42 × 40 cm, Paloma Varga Weisz‚ © DACS 2018, photograph: Stefan Hostettler, Düsseldorf

Exhibition

ISelf Collection: Bumped Bodies

10 Apr 2018 – 12 Aug 2018

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Whitechapel Gallery

London, United Kingdom

Untitled (Freud Museum) by Simon Bedwell

Exhibition

Black Mirror: Art As Social Satire

28 Sep 2018 – 22 Feb 2019

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Saatchi Gallery

London, United Kingdom

2017

John Stezaker, Sublime IX, 1987-98, Found image, 8 x 22.7 cm. Copyright John Stezaker, Courtesy The Approach, London.

Exhibition

Sublime Smoke

01 Oct 2017 – 05 Nov 2017

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The Approach

London, United Kingdom

Jake and Dinos Chapman - The lisper lisps, the shutterer stutters, the dyslexic disleksiks II

Art Auction

Postgraduate Art Auction

16 Nov 2017

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Lethaby Gallery

London, United Kingdom

Exhibition

John Stezaker. The Voyeur: Photoroman Collages, 1976–1979

10 Nov 2017 – 06 Jan 2018

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Petzel Gallery Uptown

New York, United States

Exhibition

John Stezaker

01 Dec 2017 – 24 Jun 2018

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The Whitworth

Manchester, 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

2016

Self-Portrait by Sir Anthony van Dyck, c. 1640 © National Portrait Gallery, London.

Exhibition

Turning to See: From Van Dyck to Lucian Freud

28 May 2016 – 04 Sep 2016

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Birmingham Museum and Art Gallery

Birmingham, United Kingdom

Talk

Turning to See: A Talk by John Stezaker

09 Jun 2016

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Aston Hall

Birmingham, United Kingdom

John Stezaker, Flash VI, 2007, Copyright John Stezaker 2016, courtesy The Approach, London

Exhibition

Revolt of the Sage

24 Nov 2016 – 21 Jan 2017

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Blain|Southern | London

London, United Kingdom

Exhibition

Plant Culture

23 Jul 2016 – 25 Sep 2016

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Attenborough Arts Centre

Leicester, United Kingdom

2015

Exhibition

House of Life

17 Oct 2015 – 08 Nov 2015

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Project 78 Gallery

St Leonards On Sea, United Kingdom

2014

Exhibition

John Stezaker

09 Oct 2014 – 08 Nov 2014

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Petzel Gallery

New York, United States

Exhibition

Billboard for Edinburgh

06 Dec 2014 – 10 Jan 2015

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Ingleby Gallery

Edinburgh, United Kingdom

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