• 02.10.2018 - Hurvin Anderson: Awarded the first TenTen Commission by the Government Art Collection

    02.10.2018 - Hurvin Anderson: Awarded the first TenTen Commission by the Government Art Collection

    Hurvin Anderson: Awarded the first TenTen Commission by the Government Art Collection

     

    The TenTen Commission is being produced jointly by the Government Art Collection with Outset Contemporary Art Fund and is sponsored by Sybil Robson Orr and Matthew Orr.

    Every year over the next decade, a British artist will be commissioned to create a unique, limited edition print which will be shown in diplomatic buildings across the world. 

    Hurvin Anderson's print Still Life with Artificial Flowers is an intricate print that evokes a snapshot of the artist's mother's front room in Birmingham. Anderson worked with The Print Studio to replicate sourced and saved fabrics and wallpapers. The thirteen base colours are built up from fifteen stencils over twentyone layers, the rich use of pattern to flatten the space referencing the techniques of Henri Matisse.

     

     

  • 26.09.2018 - Hurvin Anderson: In conversation with William Feaver at The Royal Drawing School

    26.09.2018 - Hurvin Anderson: In conversation with William Feaver at The Royal Drawing School

    Hurvin Anderson in conversation with William Feaver

    Organised by the Royal Drawing School

     

    Shoreditch Studios, London

    26 Septemeber, 6:45pm

     

    Further information

  • Hurvin Anderson: Turner Prize exhibition at the Ferens Gallery, Hull

    Hurvin Anderson: Turner Prize exhibition at the Ferens Gallery, Hull

    Hurvin Anderson: Turner Prize 2017

     

    Exhibition dates: 26 September, 2017 - 7 January, 2018

    An exhibition of work by the nominated artists opens tonight at the Ferens Art Gallery in Hull and the winner will be announced at an award ceremony on 5 December.

     

    Further information

  • Hurvin Anderson: Royal West of England Academy - Secret Postcard Auction

    Hurvin Anderson: Royal West of England Academy - Secret Postcard Auction

    Royal West of England Academy, Bristol

    25 May, 7-9pm

     

    Hurvin Anderson is one of the artists who has contributed to this year's Royal West of England Academy's Secret Postcard Auction fundraiser. The cards are signed on the back for anonymity and will be auctioned on 25 May where participants can bid on these original pieces of art. All proceeds will go towards supporting the RWA.

     

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  • Thomas Dane Gallery congratulates Hurvin Anderson on his 2017 Turner Prize nomination

    Thomas Dane Gallery congratulates Hurvin Anderson on his 2017 Turner Prize nomination

    Congratulations to Hurvin Anderson who has been nominated for the 2017 Turner Prize.

    Turner judges described Anderson as "an outstanding British painter whose art speaks to our current political moment with questions about identity and belonging."

     

    An exhibition of work by the nominated artists will open at Ferens Art Gallery in Hull on 26 September, and the winner will be announced at an award ceremony on 5 December.

     

    Further information

  • Hurvin Anderson: Dub Versions at New Art Exchange

    Hurvin Anderson: Dub Versions at New Art Exchange

    Hurvin Anderson: Dub Versions

     

    New Art Exchange, Nottingham

    2 July - 18 September, 2016

     

    Dub Versions at New Art Exchange explores Hurvin Anderson's practice in depth, consisting of existing and newly commissioned works. The exhibition also features sketches, preparatory paintings, collages, drawings and photographs that have never been displayed before in the UK.

     

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  • Hurvin Anderson, Walead Beshty, Alexandre da Cunha and Anya Gallaccio in Making & Unmaking: An exhbition curated by Duro Olowu at Camden Arts Centre

    Hurvin Anderson, Walead Beshty, Alexandre da Cunha and Anya Gallaccio in Making & Unmaking: An exhbition curated by Duro Olowu at Camden Arts Centre

    Making & Unmaking: An exhbition curated by Duro Olowu

     

    Camden Arts Centre, London

    19 June - 18 September, 2016

     

    Making & Unmaking, curated by celebrated fashion designer and curator Duro Olowu. The exhibition brings together over sixty international artists working in diverse media, including Hurvin Anderson, Walead Beshty, Alexandre da Cunha and Anya Gallaccio.

     

    Further information

  • Hurvin Anderson: Backdrop at Art Gallery of Ontario

    Hurvin Anderson: Backdrop at Art Gallery of Ontario

    Hurvin Anderson: Backdrop

     

    Art Gallery of Ontario

    19 May - 21 August, 2016

     Backdrop will be Hurvin Anderson's first major solo exhibition in Canada. Surveying Anderson's practice in depth, new and recent paintings will be presented alongside previously unseen sculptures and photographs, as well as large-scale drawings. 

     

    Related Events:

    Hurvin Anderson in Conversation with Jeffrey Uslip

    Wednesday 18 May, 5.30-6.30 pm, Baillie Court

     

    Further information

     

  • Hurvin Anderson: Backdrop at Contemporary Art Museum St Louis

    Hurvin Anderson: Backdrop at Contemporary Art Museum St Louis

    Hurvin Anderson: Backdrop 

    September 11 - December 27, 2015

    Contemporary Art Museum St Louis

     

    Further information

  • Hurvin Anderson: Poetics of Relation, Pérez Art Museum Miami

    Hurvin Anderson: Poetics of Relation, Pérez Art Museum Miami

    Hurvin Anderson: Poetics of Relation

    Pérez Art Museum Miami

    29 May - 18 October, 2015

     

     

    Further information

     

  • Hurvin Anderson: Reporting Back, Ikon Gallery

    Hurvin Anderson: Reporting Back, Ikon Gallery

    Ikon presents the most comprehensive exhibition to date of paintings by British artist Hurvin Anderson (b.1965), evoking sensations of being caught between one place and another, drawn from personal experience. It surveys the artist's career, including work made shortly after he graduated from the Royal College of Art, London, in 1998, through the acclaimed Peter's Series (2007-9), inspired by his upbringing in Birmingham's Afro-Caribbean community, and ongoing works arising out of time spent in Trinidad in 2002. Filling Ikon's entire exhibition space, Reporting Back traces the development of Anderson's distinct figurative style.
     
    Anderson arrived on the international art scene with Peter's Series, a number of paintings depicting the interiors of barbers' shops, in particular one (owned by Peter) visited by Anderson with his father as a boy. A converted attic serving as an improvised salon for conversation as well as for cutting hair, this was a social retreat vital for many male members of the local Caribbean community; a place he equates to an English garden shed. By painting this subject, the artist was exploring a formative psychological moment, and by returning to it pictorially he takes us with him on a journey that is as sentimental as it is a faithful representation.
     
    It is significant that often Anderson depicts sites of leisure, where the mind is usually free to wander. He talks often of being in one place "but actually thinking about another", a fact of his life arising out of his cultural background. He grew up in the English Midlands preoccupied with visions of a warmer, more colourful 'other country' and from this experience has developed a way of seeing which he describes as "slightly outside of things". Later paintings of the Caribbean embody this kind of perception with verdant green colour glimpsed behind close-up details of the fences and security grilles found in residential areas, or an expanse of water or desolate approach separating us, the viewer, from the point of interest in the centre ground. This method of composition signifies at once a kind of social and political segregation, a smartness with respect to the business of picture making, amounting to a kind of semi-detached apprehension of what Anderson encounters.
     
    A major monograph illustrating works from across the artist's career will be published to accompany the exhibition, including texts by Jennifer Higgie, writer and co-editor of Frieze.
  • Alexandre da Cunha and Hurvin Anderson: Homebodies, Museum of Contemporary Art, Chicago

    Alexandre da Cunha and Hurvin Anderson: Homebodies, Museum of Contemporary Art, Chicago

    Homebodies presents work by contemporary artists who examine the space of the home, both literally and metaphorically, as an integral site for making art. Featuring an expansive range of artworks, some made of materials found in the domestic sphere and others that represent or re-create a sense of domesticity, Homebodies demonstrates a new understanding of how the domestic context has influenced the creation and interpretation of contemporary art. The exhibition incorporates various media, including paintings by Hurvin Anderson; sculptures by George Segal and Rachel Whiteread; installations by Alexandre da Cunha and Do Ho Suh; photography by Marina Abramović, Barbara Kruger, Doug Aitken, and Adrian Piper; video by Martha Rosler, Rivane Neuenschwander, and Guy Ben-Ner; and a living-room environment by Dzine that doubles as a nail salon. The exhibition is likewise international in its reach, drawing from six continents to include more than forty artists at various stages in their careers.

     

    The domestic setting has been a crucial site (and recurring subject) of artistic production-a parallel track and occasionally a counterpoint to more commonly celebrated contexts such as the artist's studio and the public sphere. In fact, many artists, for personal or financial reasons, work at home, and for those artists the home often becomes the subject and source of their artwork. Although this exhibition focuses on artists working from the late 1960s to the present, there are notable precedents in art history dating back as early modernism. Major artists in the nineteenth and early twentieth centuries, including Vincent van Gogh and Henri Matisse, frequently depicted domestic interiors as sites of psychological reflection and a potent metaphor for social or historical concerns. Later, in the 1970s, the feminist movement exposed the home as a site of identity production and interrogation, putting pressure on the presumably male cliché of the heroic artist creating alone in his studio. In recent years, as commerce and communication have become increasingly globalized, artists have paradoxically turned inward, examining the idea of "home" in more localized contexts, recognizing it as an arena of social development and an indicator of economic trends, especially as more and more artists confront the recent crises in housing and urban development in their work.

     

    The exhibition is organized in three sections. The first, Architectonics, includes works that represent interiors, use fragments of private homes, or are produced on a small scale, often using humble, domestic materials. The second section, Division of Labor, presents artworks that replicate a "cottage industry" scale of production or refigure activities such as care and cleaning, and demonstrates the lasting impact of the feminist movement on artists of any gender expression. Finally, the third section, Psychogeographies, considers how private interiors can become a metaphor for interior mental spaces, oftentimes fraught with anxiety and upheaval.

     

    This exhibition is organized by Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago.

  • Hurvin Anderson: Homebodies, Museum of Contemporary Art, Chicago

    Hurvin Anderson: Homebodies, Museum of Contemporary Art, Chicago

    Homebodies presents work by contemporary artists who examine the space of the home, both literally and metaphorically, as an integral site for making art. Featuring an expansive range of artworks, some made of materials found in the domestic sphere and others that represent or re-create a sense of domesticity, Homebodies demonstrates a new understanding of how the domestic context has influenced the creation and interpretation of contemporary art. The exhibition incorporates various media, including paintings by Hurvin Anderson; sculptures by George Segal and Rachel Whiteread; installations by Alexandre da Cunha and Do Ho Suh; photography by Marina Abramović, Barbara Kruger, Doug Aitken, and Adrian Piper; video by Martha Rosler, Rivane Neuenschwander, and Guy Ben-Ner; and a living-room environment by Dzine that doubles as a nail salon. The exhibition is likewise international in its reach, drawing from six continents to include more than forty artists at various stages in their careers.

     

    The domestic setting has been a crucial site (and recurring subject) of artistic production-a parallel track and occasionally a counterpoint to more commonly celebrated contexts such as the artist's studio and the public sphere. In fact, many artists, for personal or financial reasons, work at home, and for those artists the home often becomes the subject and source of their artwork. Although this exhibition focuses on artists working from the late 1960s to the present, there are notable precedents in art history dating back as early modernism. Major artists in the nineteenth and early twentieth centuries, including Vincent van Gogh and Henri Matisse, frequently depicted domestic interiors as sites of psychological reflection and a potent metaphor for social or historical concerns. Later, in the 1970s, the feminist movement exposed the home as a site of identity production and interrogation, putting pressure on the presumably male cliché of the heroic artist creating alone in his studio. In recent years, as commerce and communication have become increasingly globalized, artists have paradoxically turned inward, examining the idea of "home" in more localized contexts, recognizing it as an arena of social development and an indicator of economic trends, especially as more and more artists confront the recent crises in housing and urban development in their work.

     

    The exhibition is organized in three sections. The first, Architectonics, includes works that represent interiors, use fragments of private homes, or are produced on a small scale, often using humble, domestic materials. The second section, Division of Labor, presents artworks that replicate a "cottage industry" scale of production or refigure activities such as care and cleaning, and demonstrates the lasting impact of the feminist movement on artists of any gender expression. Finally, the third section, Psychogeographies, considers how private interiors can become a metaphor for interior mental spaces, oftentimes fraught with anxiety and upheaval.

     

    This exhibition is organized by Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago.