Wednesday, November 28, 2012

ROGER ACKLING | NEW WORK - Opening Reception: Thurs Nov 29 6—8 PM

Roger Ackling,
Voewood 2012
, 2012
Sunlight on wood
with metal,
15 3/8 x 12 ¾ x ½ inches

November 29, 2012 - January 5, 2013
Opening Reception: Thurs Nov 29 6—8 PM

Von Lintel Gallery is pleased to present an exhibition by the English artist Roger Ackling. For this latest body of work, Ackling continues to draw with sunlight, marking found wooden objects with burned lines; however, in this series, he employs empty picture frames, introducing a new focus on negative space.

For nearly forty years, Ackling has applied precise burn marks to wood, often discovered on England's Norfolk beaches, by reflecting sunlight through a handheld magnifying glass. In the new work, he covers the surface of collected picture frames with a rhythmic series of closely-placed lines, patiently applied during long solitary outdoor sessions. In the Minimalist tradition, the bands of unburned wood are placed at regular intervals, reflecting the dimensions of the object and creating a sense of geometric order expressive of a dialogue between the artist and the object. The overall effect balances extraordinary precision with the subtle imperfections of hand execution. The quiet repetition of the patterning is reflective of the meditative and ritualistic quality of the artist's method.

Roger Ackling (b. 1947) was born in Isleworth, London, and studied at St. Martin's College of Art in London. He lives and works in Norfolk, England. He has exhibited internationally since the mid-70s, and the public collections that hold his work include the British Museum, the Tate Collection, and the Victoria and Albert Museum in London; the Stedelijk Museum, Amsterdam, and the Fogg Art Museum, Boston. This exhibition is the artist's seventh at Von Lintel Gallery


ROGER ACKLING | Selected Work

ROGER ACKLING | Selected Museums & Collections

Five Sunsets in One Hour 1978

British Council

Untitled (sunlight on wood)
Whitechapel Gallery (exhibited), London, England

Exh: Whitechapel open; London: Whitechapel Gallery; Jun - Aug 1992

Type: A-negative
Negative number: A92/662
Copyright: © Courtauld Institute of Art

 Roger Ackling Voewood, 2004

Harvard / Art Museums

Art Gallery North South Wales



Weybourne, 1992

Voewood, 1999

Norfol, 199
Roger Ackling (Drawn by); Three Lines in Kenya; three horizontal lines. 1977 Three panels of scorch marks on cardboard
Roger Ackling (Drawn by); 1 HR/ BROKEN/ 8.40-4.40/ 13/4/76; tightly spaced horizontal lines filling two thirds of page. 1976 Scorch marks on cardboard
Roger Ackling (Drawn by); One Hour Sun Drawing (Cloud Study); broken horizontal lines. 1977 Scorch marks on cardboard

ROGER ACKLING | Selected Press

Raised Awareness: Featured artists: Roger Ackling 
Curated by Bill Woodrow

Roger Ackling
Untitled 2003

© the artist
This artwork takes the form of a sheet of paper on which is written, in hand-drawn capital letters, THIS DRAWING IS NOT MADE WITH SUNLIGHT. It accompanies a second sheet on which a series of parallel black lines are drawn out.

The paper has then been crumpled by hand and is displayed slightly unfolded so that we can see the parallel lines through the folds and undulations of the crumpled paper.

The simple act of crumpling the paper turns it from a flat and conventional ink-on-paper drawing, into a three-dimensional miniature landscape.

The message, and the landscape of lines, though partially obscured by the crumpling process, indicates again that the creative act of producing a drawing does not have to be about reproducing a sunlit scene or subject. Here, light is used in another way to investigate and demonstrate the often overlooked texture of a crumpled paper surface.

Read more @ TATE

No Painting in April by Paul Carey-Kent  
By Paul Carey-Kent · April 5, 2012  
Art News, London : Featured

Roger Ackling, High Noon

The best show in London now is the exemplary Boetti survey at Tate Modern (to 27 May) and it has two very worthwhile pendants: three floors (used for the first time) of neatly complementary works at Spruth Magers (to 31 March) and Gavin Turk’s homage at Ben Brown (to 20 April). Another fine group of three shows are spread across the two Lisson spaces: Dan Graham’s pavilions, Jorinde Voigt’s striking full UK debut (see my New York recommendations) and a particularly inventive set of explorations by Spencer Finch (all three to 28 April). Once you’ve seen those six (!), I also recommend the following, which similarly fail to feature paintings… the late Dubuffet show at Waddington would be my choice for those who want some.


For forty years Roger Ackling born (1947) has been using a magnifying glass to burn the sun into geometric patterns on found items or pieces of wood. Thus, ritualistic process meets minimalist language to produce altered readymades which take art out of the studio to interact with the environment. The results are harmonious, surprisingly varied, and bring a certain wit to the deconstruction of objects’ original purposes, for what is of lasting use in the context of the solar time which is inscribed by the sun’s path? So Ackling starts with a boyhood game and turns it by sheer persistence into his own route to eternity.

Read more @ Saatchi Online

Roger Ackling - interview        
Source: The List (Issue 693)       
Date: 3 February 2012       
Written by: Allan Radcliffe

The visual artist's current exhibition features burnt images created using magnifying glasses.

What was the first exhibition you went to see?
Something at the Wallace Collection, London. Maybe Brueghel.

What was your first paid job as an artist?
Part time teaching at Wimbledon School of Art.

What kind of music do you listen to while you’re working?

What are the best things about opening nights?
Seeing friends. A glass of wine.

Do you read reviews of your work?

Which living artist should be better known than they currently are?
David Blackaller.

What has been your career highlight to date?
Making the work quietly by myself across the surface of the earth.

What is your favourite work of art?
Anything by Enku (17th century Japanese Buddhist monk and sculptor).

What advice would you give to your younger self?
Keep going, take it easy, but take it.

Read more @ The List

Luke Fowler | Roger Ackling | Andrew Miller | Barry McGlashan | Alistair Grant 

Published on Thursday 23 February 2012

There is a difference between simple and elementary, and while he occasionally lands on the right side, Luke Fowler’s playing with RD Laing’s concept of the divided self more often than not misses the mark, discovers Duncan Macmillan  ONE of the first rules of contemporary art is take yourself very seriously indeed. If you do, others will too, no matter how fatuous your art may actually be. Luke Fowler at Inverleith House helps demonstrate this rule. There’s no doubt he takes himself very seriously. He expects us to do the same and, indeed, some of his show is pretty fatuous. He makes films, and my own second rule of contemporary art is that artists shouldn’t make films. Film is a sophisticated medium and any artist approaching it is bound to be a tyro. Up to a point Fowler is an exception to that rule. He does have some skill and it is not the two- hour film, All Divided Selves, in his show that is really fatuous, but I still mistrust this way of using the medium. .


If it once seemed that madness and genius were akin, now we are quite specific in the mental disorder we most favour. It is obsessive compulsive behaviour. A good example is Roger Ackling at the Ingleby Gallery. He has taken everything from his garden shed, the forks and spades, the rakes and the hammers, even the old tomato boxes, and has apparently used a magnifying glass, following the sun to burn rows and rows of close packed parallel lines along their wooden handles and flat surfaces. Implicitly their sequence measures the cycle of the sun’s annual trajectory in a sort of fiery calendar. He has also pinned a black thread along the wall to suggest the horizon against which that trajectory is measured. But what about the weather? A burning glass needs sunshine. There are never so many sunny days in any British year. That thought casts a doubt on his whole project. 

Nevertheless, the garden tools make a charming spectacle arrayed along the pristine white walls of the gallery. The suggestion of the sun’s movement is nicely apposite to gardening too, but such gentle metaphors are really upstaged by the evidence they also offer of his obsessive application to his task.

Showing alongside Ackling is Andrew Miller, an artist who recycles the things we discard and turns them into art. He makes a sculpture out of a tower of lampshades and an abstract picture out of a piece of patterned vinyl, for instance. He does it all with a certain charm, but it is scarcely an original idea. His photographs are more intriguing – a tree trunk with “no future” written on it, or a ramshackle house in Jamaica with an exactly matching chicken house alongside.

Roger Ackling is introduced as a friend and contemporary of Richard Long and Hamish Fulton, both artists who make, or have made art, by taking a walk. At the Open Eye Barry McGlashan is also a walking artist, but he is a painter. For him, the walk is not the art but an opportunity. He takes his backpack and sets off, but the results are not so much about him or even a record of what he has seen, as just an opportunity for inspiration. His pictures like Drifter, for instance, a man and his dog in a desert, are unpretentious and often humorous, but they have the ring of truth. Alistair Grant, in Eye2, was teacher of printmaking at the Royal College for 35 years until he retired in 1990. He was brought up in France and so his etchings made in the 1950s of children playing in the streets or on the beach at Le Touquet are not the usual artist-on-his-foreign-holiday kind of thing, but observations of life as it is lived. They are quite brilliantly alive and informal, but taste changed and he became an abstract artist. The abstract prints he produced in the 1960s now look sadly dated, but his etchings of children are as fresh as the day they were made.

Read more @ scotsman.com 


A wide variety of sculptural works will be seen across the city this summer both in galleries and public spaces. Alongside the sculptural forms of Hesse, McCracken and the Wilson Twins, works by a range of international artists, many commissioned especially for exhibitions within the Festival, will be unveiled. ...  At the National Museum of Scotland Ballast: Bringing the Stones Home will see New Zealand artist, John Edgar create a series of works from stone collected in various historic quarries across Scotland. His sculptures explore the experience of the emigrant: the leaving of a homeland, the voyage through unknown seas, the arrival in a new land. Also working in wood like Andrew Ranville, but on a much smaller scale is Roger Ackling. One of the generation of artists graduating from St Martin’s in the 1960s, Ackling was part of the movement that decided sculpture could be anything they wanted it to be. In Ackling's case this is a small piece of found wood marked by the sun. Focusing sunlight through a hand held magnifying glass to draw onto pieces of discarded wood rescued from the edges of our everyday lives, Ackling, who will show work at sleeper, effectively draws with light. 

Read more @ ArtDaily

Review/Art; A Look at Romare Bearden's Long Life Journey 
By MICHAEL BRENSON Published: June 09, 1989      

By the time Romare Bearden died last year, he had received the National Medal of Arts, he had been given several traveling museum shows and he had acquired countless admirers and friends. Yet within the New York art establishment, he remained an outsider. Major New York museums bought and occasionally showed his work, but his magical narrative epics remained peripheral to their concerns.


This is the first New York exhibition for Roger Ackling, an Englishman based in London who makes small delicate reliefs. He finds pieces of light wood, like driftwood. Then, using a hand-held magnifying glass, he allows the sun's rays to brand the wood in rows or stripes that sometimes move with and sometimes against the grain. Pieces of wire and nails found in the wood remain, and since they are black, they seem extensions of the lines. The charring paradoxically makes the discarded wood seem valuable. The sun seems to have squeezed it, creating the sense that there is something valuable inside. The contemplation and discipline involved in the selection and charring suggest a religious process that transforms the wood into sacred batteries or texts. Part of what is distinct about these works is that, like the striped paintings of Agnes Martin, they put no pressure on the viewer. They are simply and quite wonderfully there.

Read more @ The New York Times

ROGER ACKLING | Selected Group Shows

The world’s largest open submission contemporary art show, now in its 244th year, continues the tradition of showcasing work by both emerging and established artists in all media including painting, sculpture, photography, printmaking, architecture and film. 

Installation view of Gallery III, Summer Exhibition 2012

Installation view of Gallery III, Summer Exhibition 2012 @ Royal Academy of Art

The Summer Exhibition attracts a high volume of entrants annually with over 11,000 entries received this year. Royal Academician Tess Jaray is the co-ordinator for Summer Exhibition 2012.
The exhibition begins in the Wohl Central Hall, which this year pays homage to Matisse’s The Red Studio. The vibrant gallery provide a backdrop to a selection of paintings whose main concern is colour. Gallery III, the grandest space in Burlington House, is curated by Tess Jaray RA. Containing a large quantity of smaller paintings, the gallery demonstrates that work of a more modest scale can be as powerful as larger work. As a former teacher at the Slade School of Art, Jaray is mindful of providing a forum for established and younger artists to show their work to the public.
Chris Wilkinson RA and Eva Jiricna RA have curated the architecture gallery of the Summer Exhibition. Their curatorial direction seeks to blur the boundaries between architecture and the fine arts

Further highlights include a video room dedicated to the work of Jayne Parker and a gallery of Scottish and Irish artists arranged by Barbara Rae RA. Other artists exhibiting this year include Michael Craig-Martin RA, Michael Landy RA, Tracey Emin RA, Ken Howard RA, Anselm Kiefer Hon RA, Raqib Shaw, Calum Innes and Keith Coventry.

Following on from last year’s successful BBC TWO Summer Exhibition Culture Show Special, the Royal Academy of Arts is delighted to be working with the BBC once more. 'The Royal Academy Summer Exhibition: A Culture Show Special with Alastair Sooke will be broadcast on Friday, 15 June at 6pm on BBC2.

Read more @ The Royal Academy of Arts

Full list of Artists @ ArtSlant

Group Show Collectie Piet en Ida Sanders. Piet and Ida Sanders. A Life with Art 
Stedelijk Museum Schiedam Hoogstraat, Netherlands  
June 30th - October 21st 2012

From 30 June to 21 October 2012, to mark the hundredth birthday of Piet Sanders and in memory of his wife Ida Sanders, the Stedelijk Museum Schiedam will present the exhibition entitled Piet en Ida Sanders. Een Leven met Kunst (Piet and Ida Sanders. A Life with Art). The exhibition contains a selection of more than a hundred works that were present in the Sanders’ household, as well as a selection of the artworks they donated to the Stedelijk Museum Schiedam.

It is a great honour for the Stedelijk Museum Schiedam to be able to display this exhibition. In this way, the Museum can show its gratitude for the donations that it has received over the past few decades, for the important role that Piet Sanders played in the Stedelijk Museum Schiedam from the early 1950s onward, and the inexhaustible commitment of the Sanders couple to the dissemination of modern and contemporary art, both inside and outside the walls of their dwelling, and in museums and public space. Besides being a private collector and art promoter, Piet Sanders was also a professor at the Faculty of Law of the Erasmus University Rotterdam, and played a significant role in post-war international relations.

Artists in the exhibition Roger Ackling, Pierre Alechinsky, Karel Appel, Jean (Hans) Arp, Enrico Baj, Iginio Balderi, Claire Begheyn, Roger Bissière, Pierre Buraglio, Christo and Jeanne-Claude, Anne Chu, Geneviève Claisse, Nathan Cohen, Willie Cole, Constant, Corneille and Jean-Clarence Lambert, Wessel Couzijn, Tony Cragg, Michael Creighton, Ger van Elk, Max Ernst, Armand Fernandez, Jackie Ferrara, Barry Flanagan, Lucio Fontana, Naum Gabo, Gilbert & George, Johannes Girardoni, Alphonse Guillot, John Hejduk, Sjef Henderickx, Hendriks, Carol Hepper, Barbara Hepworth, Gottfried Honegger, Willem Hussem, Joolen, Anish Kapoor, Imi Knoebel, Harry van Kruiningen, Hildo Krop, Darren Lago, Maya Lin, Jacques Lipchitz, Charles Long, Marino Marini, Allan McCollum, Julian Opie, Meret Oppenheim, Tom Otterness, Panamarenko, Gaetano Pesce, Pablo Picasso, Serge Poliakoff, Arnaldo Pomodoro, Roger Raveel, George Rickey, Cornelius Rogge, Ulrich Rückriem, Marc Ruygrok, Salvo, Gerard Ernest Schneider, Jan Schoonhoven, Gino Severini, Joel Shapiro, Elise Siegel, Mario Sironi, Susan Smith, Jesús Rafael Soto, Malte Spohr, Susanna Starr, Piet van Stuyvenberg, Tilman, Narcisse Tordoir, Marjolijn van den Assem, Albert Verkade, Claude Viallat, Henk Visch, Carel Visser, Hendrik Nicolaas Werkman, David Ben Zadok.

Read more @  Stedelijk Museum Schiedam Hoogstraat

ROGER ACKLING | Selected Publications

Set Aside [exhibition: 29 May- 27 June, 1998] by Kirsten Glass, Roger Ackling and Sylvia Ackling (1998) 

Underground by Roger Ackling (Jul 1, 2007 

Sun Days by Roger Ackling (2008)

View more @ amazon.com




born in Isleworth, London

lives and works in Norfolk

Studied at St Martin's College of Art, London

Solo Exhibitions

Von Lintel Gallery, New York 
Galerie Josine Bokhoven, Amsterdam 
Ingleby Gallery, Edinburgh 
Annely Juda Fine Art, London  Galerie Inga Kondeyne, Berlin  Rosa Turetsky Gallery, Geneva    


The Holly Stubbings Gallery, Norwich 
Galerie Michael Sturm, Stuttgart                   
Cairn Gallery, Nailsworth, Gloucestershire                    
Chelsea Space, London                    
Galerie Peter Lindner, Vienna                    
The Anteros Arts Foundation, Norwich                    
Norwich University College of the Arts (N.U.C.A.), Norwich                    
Charles Booth-Clibborn, London                    

Galería Elvira González, Madrid 
The Cut Arts Centre, Halesworth, Suffolk 
Galerie Gisèle Linder, Basel  Schmidt Contemporary Art, Saint Louis


Imprints-Galerie, Le Vieux Village
Galerie Lydie Rekow, Crest
The Pier Arts Centre, Stromness, Orkney
Tadashi Takahashi Gallery, Tokyo
R2, Takasaki
Concept Space, Shibukawa


Verein allerArt, Bludenz
Annely Juda Fine Art, London


Konstruktiv Tendens, Stockholm
Rosa Turetsky Gallery, Geneva
Unique Space, Geneva


Galerie Peter Lindner, Vienna
Galerie Gisèle Linder, Basel
Von Lintel Gallery, New York
Annandale Galleries, Sydney

Concept Space, Gunma, Japan
Galerie Josine Bokhoven, Amsterdam
Rabley Contemporary Drawing Centre, Wiltshire

Crawford Arts Centre, St Andrews
Ingleby Gallery, Edinburgh
Victoria Munroe, Boston


Annely Juda Fine Art, London


Galerie Michael Sturm, Stuttgart
Von Lintel Gallery, New York
Galería Elvira González, Madrid


Von Lintel & Nusser, New York
Galerie Gisele Linder, Basel                 
Galerie Lydie Rekow, Crest                 
Mappin City Art Gallery, Sheffield                 
Schoenthal Monastery, Basel                 
Galerie von Lintel & Nusser, Munich


The Sainsbury Center, Norwich
Galerie Rosa Turetsky, Geneva                 
Josine Bokhoven, Amsterdam                 
Henie Onstad Center, Oslo


Galerie Thomas von Lintel, Munich
Academie Beeldene Kunsten, Maastricht                 
Mark Moore Gallery, Santa Monica                 
Annely Juda Fine Art, London                 
Galerie Laage-Salomon, Paris             

Mead Gallery, Warwick Arts Center, University of Warwick                 
Angel Row Gallery, Nottingham                 
Inverleith House, Royal Botanical Gardens, Edinburgh                 
Peninsula, Eindhoven                 
Galerie Peter Linder, Vienna

Museum of Modern Art, Wakayama                 
Cairn Gallery, Nailsworth                 
Galerie Gisele Linder, Basel

P.P.O.W., New York Galerie Thomas von Lintel, Munich                 
Plymouth Arts Centre, Devon                 
Palais Thurn & Taxis, Bregenz                 
Second Floor Space, Reykjavik

Rosa Turetsky, Geneva                 
Annely Juda Fine Art, London                   

Galerie Lydie Rekow, Crest                 
Galerie Gisele Linder, Basel                 
H.S. Steinek, Vienna  

R2, Takazaki                 
Concept Space, Shibukawa
White Art Gallery, Toky  Galerie Laage-Salomon, Paris
Galerie Josine Bokhoven, Amsterdam Rhona Hoffman Gallery, Chicago                        


Angles Gallery, Santa Monica
Laura Carpenter Fine Art, Santa Fe


Centre D'Art Contemporain, Genf
Galerie Renee Ziegler, Zurich
Galerie Lydie Rekow, Crest
Charles Booth-Clibborn, London
R2, Takazaki
Concept Space, Shibukawa
White Art Gallery, Tokyo
Ann Westin Gallery, Stockholm
Laage-Salomon, Paris


Cairn Gallery, Nailsworh, Gloucestershire
Vaughan & Vaughan, Minneapolis
Annely Juda Fine Art, London


Graeme Murray, Edinburgh
P.P.O.W., New York
White Art Gallery, Tokyo
Concept Space, Shibukawa

Musee d'Arles, Cloitres de St. Trophine


Barn Gallery, Lincoln
White Art Gallery, Tokyo
Gillespie-Laage-Salomon, Paris
Juda Rowan Gallery, London

Concept Space, Shibukawa                  
White Art Gallery, Tokyo                   
Amano Gallery, Osaka                   
Cairn Gallery, Nailsworth, Gloucestershire                   
Contemporaine, Val-de-Vesle                   
Association Silo, Centre de Creation                   
Howard Gardens Gallery, Cardiff

Concept Space, Shibukawa                   
White Art Gallery, Tokyo                   
Amano Gallery, Osaka  1984     
Bradbury and Birch Fine Art, London                   
Francoise Lambert, Milan                   
Kumo Gallery, Tokyo                   
Amano Gallery, Osaka                   
Lisson Galllery, London                   
Gillespie-Laage-Salomon, Paris

Coracle Press, London                   
Kumo Gallery, Tokyo                   
RYO Gallery, Kyoto                   
Amano Gallery, Osaka                   
Coracle Press, London   

Francoise Lambert, Milan

Galerie Loyse Oppenheim, Lyon                   
Gillespie-Laage-Salomon, Paris                  
Front Room, London                   
Coracle Press, London                   
Lisson Gallery, London 

Front Room, London

Marina Urbach, New York                   
Gillespie-Laage, Paris                   
Lisson Gallery, London                   
Graeme Murray, Edinburgh

Graeme Murray, Edinburgh                   
Gillespie-Laage, Paris                   
Marina Urbach, New York

Lisson Gallery, London  1976     
Lisson Gallery, London                   
L.C.F. Gallery, London

Public Collections

Arts Council of Great Britain
Association Silo, Val-de-Vesle
Ballinglen Arts Foundation, Mayo, Ireland
British Council
British Government Collection
British Museum, London              
Centre d'Art Contemporain, Geneva
Century American Corporation, Chicago
Cheltenham City Art Gallery & Museum
Contemporary Art Society, London
Fifth Floor Foundation, New York
First National Bank of ChicagoFogg Art Museum, Boston
Fonds National d'Art Contemporain, Paris
Fonds National d'Art Contemporain, Picardie
Fonds Regional d'Art Contemporain, Champagne
Fonds Regional d'Art Contemporain, Normandy
Fruit Market Gallery, Edinburgh
Furkart, Furkapasshöhe, Switzerland
Gallery of New South Wales, Sydney
Guerlain Foundation, Paris
Hiroshima City Museum of Contemporary Art
Hood Museum of Art, New Hampshire, USA
John D. and Catherine T. MacArthur Foundation, Chicago
Kettle’s Yard, Cambridge
Kreissparkasse, Reutlingen
Kunsthaus, Zürich
Kunstmusem Basel
McCory Stores Corporation, New York
Ministère de la Culture de la Region, Brittany
Museum Biedermann, Donaueschingen
Musée de l’Arles, Cloître St. Trophime
Museo Cantonale d'Arte (Panza di Biumo Collection), Lugano
Museo de Arte Contemporaneo Esteban Vicente, Segovia
Musée de Grenoble
Museum Folkwang, Essen
Museum Moderner Kunst, Vienna
Naples Museum of Art, Florida
National Gallery of Iceland
Norwich University College of the Arts (N.U.C.A.), Norwich
The Pier Arts Centre, Stromness, Orkney
S.A.F.N., Reykjavík
Sculpture at Schoental Monastery, Langenbruck
Scottish National Gallery of Modern Art, Edinburgh
Setagaya Art Museum, Tokyo
SILO, Reims
S.O.N.S. Museum, Kruishoutem
Southampton City Art Gallery
Tate Collection, London
Tokyo Metropolitan Art Museum
U.B.S Bank of Switzerland
University of East Anglia, Norwich
Victoria and Albert Museum, London
Vienna National Film Library
The Reykjavík City Museum
Palais Thurn und Taxis, Bregenz
Stedelijk Museum, Amsterdam
The Museum of Modern Art, Wakayama


Mel Gooding, Song of the Earth, RA0577 illustrated on page 35, 2002

Roger Ackling, The New Yorker, January 15, 2001

Tadeus Pfeifer, 'Spannende Ruhe' (review of exhibition at Gisèle Linder Gallery), Basler Zeitung, 17

March 2000

John Haldane, 'Back to the Land', Art Monthly, June 1999

Juan Cruz,  'Roger Ackling', Review of exhibition at Annely Juda Fine Art, Art Monthly, July 1998

William Packer, 'Age shall not wither the artists', Financial Times, 9 June, 1998

Set Aside.  Roger Ackling, ex. cat. Annely Juda Fine Art, London 1998

Black Sun. Roger Ackling, Ex.cat. Mead Gallery, Warwick Arts Center, University of Warwick/

Angel Row Gallery, Nottingham/ Inverleith House, Royal Botanical Garden, Edinburgh 1997

ARTI, Volume 24, May 1995

W. Packer, Review der Ausstellung bei Annely Juda Fine Art, in: The Financial Times, May 31, 1994

Review der Ausstellung bei Annely Juda Fine Art, 'Untitled' , review of contemporary art, Summer 1994

Review der Ausstellung bei Annely Juda Fine Art, in: The Christian Science Monitor, 26 May 1994

Review der Ausstellung bei White Art Gallery, Tokio, in: Bijutsu Techo, May 5, 1994

D. Pieters and M. Peeters, in: NRC-Handelsblad, June 25, 1993

Review der Ausstellung in der Galerie Josine Bokhoven, Amsterdam, in: Voorkeur, June 24, 1993

S. Roter, 'Konfrontation statt Kunstkonsum: "une forme une surface un volume" in der Basler

Galerie Gisele Linder', in: Basler Zeitung, July 10, 1992

S. Ellis: Pasatiempo, The Santa Fe, New Mexican Weekly Arts & Entertainment Magazine, 5/3/92

P. J. Tarchinski, 'Culture Plays Pivotal Role in Artworks', in: Journal North, Santa Fe, 5/2/92

G. Fauntleroy: 'Ackling has a burning desire to create his own style of art', in: Pasatiempo,

The Santa Fe, New Mexican Weekly Arts & Entertainment Magazine, 27. March 1992

F. Nyffenegger, 'Mes dix plaisirs esthetiques', in: La Tribune de Genève, November 21, 1991

F. Nyffenegger, 'Du bois au fer',  in: La Tribune de Genève, November 2/3, 1991

L. Chauvy, 'Le soleil, Maytre d'oeuvre', in: Gazette de Lausanne, October 22, 1991

N. El Beblawi, 'Experience poetique traduite', in: Journal de Genève, October 22, 1991

M. Allthorpe-Guyton, 'Territorial Rights'  in: Artscribe 1991

T. Warner, 'Norfolk Portfolio', in: Arts Review, October 18, 1991

Nikkei Art, April 1991

M. Gooding, 'Reclamations and Reminders: Roger Ackling's sculpture', in: Art Monthly,March 1991;

S. Hubbard, in: Time Out, February/ March 1991

D. Lee: 'London Reviews', in: Arts Review, February 23, 1990

W. Feaver, 'Warm fronts to whet a weatherman's appetite', in: Observer, February 25,1990

M. Vaizey, 'Invitation into magical worlds', in: The Sunday Times, February 25, 1990

W. Packer, 'Sculpture tailored from the countryside' in: Financial Times, February 3,1990

D. Bonetti, 'A very English way with wood sculpture', in: San Francisco Examiner, 1/23/90

M. Brenson, 'Roger Ackling', in: The New York Times, June 9, 1989

J. Perron, 'Magnifying lens becomes artist's tool', in: The Japan Times, April 2, 1989

W. Packer, 'Two sculptors' time and place', in: Financial Times, March 12, 1987

M. Bohm-Duchen, 'Lijn, Ackling, Wentworth, Deacon', in: Art Monthly, May 1987

S. Kent, in: Time Out, March 25, 1987

W. Packer, in: Financial Times, March 12, 1987

Artist through the magnifying glass', in: The Independent, March 6, 1987

L. Berryman, 'Roger Ackling', in: Arts Review, March 27, 1987

J. Shiodain: Bijutsu Techo, 1986


Friday, November 23, 2012

Paris Photo 2012: 'A Kick Up the Arts' Review feat. John Chiara

I made my first trip to Paris Photo this week and unlike most French events (apologies for the generalisation but I’ve been to a few!) this was well organised with efficient and helpful administration for my (late) Press accreditation. 

Now In its 13th year and its second at the Palais, this is an event that has hauled itself up the photo-fair ladder to being must-go European event running only second after APAID in NY in importance worldwide. It has a magnificent location in the historic main hall of the Grand Palais – inaugurated in 1900 for the Universal Exhibition it is an Art Nouveau jewel topped with a vast glazed dome.

After an orderly, if slightly illogical, queuing system for the inevitable first morning rush you enter the grand and airy main hall. Here there are over 150 exhibitors which include most of the big name galleries. There are the photo specialists like Hamiltons, Zander and Camera Work where you will quickly spot most of the big names of the photo world: William Eggleston, Robert Frank, Martin Parr alongside fashion photographers that have somewhat transcended the genre to become accepted in the art world – people like David Bailey and Tim Walker.


I tried to seek out works that represented the less traditional modes of photography and found some excellent work. Hans-Christian Schink at Robert Morat travelled the world to take hour long exposures of the sky. The sun burning a black trace, like a floating wand across the final image, its direction dependent upon the hemisphere and latitude

At Von Lintel John Chiara works were made by exposing photographic paper directly within varying home made ‘cameras’, some as large as a truck. The resulting images showing flares, anomalies and colour inversions. The results are unusual and disquieting.

At the same stand Marco Breuers works are also unique editions – using heat elements to burn, melt scratch and scar photographic paper. Images, ironically, do not do justice to the textures of the ‘real’ thing.

Read more @ a kick up the arts

Paris Photo 2012: Coolhunting Review feat. John Chiara

Paris Photo 2012

The gardens of the Champs Elysées play host to international talent and broad ideas

by Andrea DiCenzo

Each year Paris Photo grows greater and grander than the year before, ensuring that the 2012 show makes a decisive leap to the front of the line as the best art photography fair to date. Returning to the Grand Palais for the second year running, the show's venue was not the only spectacular aspect of the fair. Paris Photo 2012 incorporated discussions by notable artists Hilla Bechar, Thomas Ruff, Alec Soth, Taryn Simon and Martin Parr (to name a few), the year's first "Paris Photo—Aperture Foundation Photobook Awards," as well as four forms of David Lynch—the lectures by Lynch, the book he curated about the fair, the mobile application with selected works by Lynch, as well as a featured photograph of him by Nadav Kander. It would be safe to attest the fair was a little Lynch-centric, but, given his status as one of the most original and innovated image makers of our time, most of us were happy to have a little more Lynch in our lives.

All of these bells and whistles, respectfully, did not reduce the attention of the 137 galleries that brought with them the highest quality of photographic works. The fair represented the vast and varied tropes, themes, discussions and conflicts happening within art photography today. Genres from documentary and historical to fashion and commercial were touched upon, if not directly at least in reference, for their importance in the photography world and their entanglement with "Art Photography". At its core, Paris Photo is a celebration of both the diversity and unity of the photography world. 


John Chiara
New York's Von Lintel Gallery displayed beautiful images by American artist John Chiara. Using a self-built camera he describes as "the size of U-Haul truck," Chiara produces large photographic prints in which there is never a negative. The image is a direct positive image, meaning that when the shutter is realized the light hitting the paper, treated with Chiara own mixture of light sensitive material, makes the image that we see as viewer. The paper is the negative process as well as the darkroom process creating one-off pieces of artwork. Chiara is playing with the notion of memory and truthfulness not only in our minds, but in the history of photography as well. As the light, and, thus, the image, burns its way onto the paper, so does "the psychological weight burns the visual into memory" says Chiara.

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Thursday, November 15, 2012

VULTURE MAG: Chelsea Gallerists on Hurricane Sandy's Damage and Their Reopening Plans

 By Miranda Siegel


Hurricane Sandy devastated Chelsea’s galleries, many of which are located in Flood Zone A. Thousands of soiled artworks have been shipped off to conservators; many were soaked beyond repair. Gallery spaces, befouled by Hudson River water, required new walls and floors; basements full of inventory were totally flooded. At press time, many galleries were still without heat or electricity. Here, a few gallerists detail the damage they sustained and their plans for reopening.

1. Printed Matter, Inc.
195 Tenth Ave.

Damage: Six feet of water destroyed approximately 90 percent of the basement inventory. “We triaged the books: ‘beyond repair,’ ‘possibility,’ ‘safe,’ ” says associate director Max Schumann.
Estimated loss: $200,000.
Reopened: Since the ground floor was spared, the shop is open. “But Chelsea has been dead.”

2. Jack Shainman
513 W. 20th St.
Damage: Three feet of water in the basement. “We have a lot of photographs, which can always be remade,” says associate director Elisabeth Sann. “And all of our artists are living, which is good.”
Targeted reopening: November 13.

3. Bortolami
520 W. 20th St.
Damage: Three feet of water, which knocked out the phones and electricity. Significant damage to artwork: “Paper, wood—both problems,” says owner Stefania Bortolami. “I now understand why museums are full of oil-on-canvas and bronzes.”
Targeted reopening: November 17 (but “it depends on Con Ed”).

4. Anton Kern
532 W. 20th St.
Damage: “Three feet of saltwater, sewage water,” says gallery director Christoph Gerozissis.
Targeted reopening: November 13. “We just want white walls, a clean floor, and the doors open. It’s not a competition.”

5. Paula Cooper
534 W. 21st St.
Damage: Three and a half feet of water. “Carl Andre’s show was up—a hundred-and-something timbers, and it just tossed them all over,” says Cooper. “We were not expecting the surge to be that high,” says gallery director Steve Henry.
Targeted reopening: November 10.

6. Haunch of Venison
550 W. 21st St.
Damage: Three and a half feet of water damaged the storage room and offices. “One of the computers started working this morning,” says
gallery manager Silas Shabelewska-von Morisse.
Reopening: November 12.

7. Matthew Marks
526 W. 22nd St. and 523 W. 24th St.
Damage: The space on 24th was being renovated, so everything was already in storage. But the 22nd Street gallery took a hit. “We had Sheetrock and gasoline for the generators shipped from upstate,” says director Jeffrey Peabody.
Targeted reopening: November 9.

8. Zach Feuer
548 W. 22 St.
Damage: “We prepped: We elevated the art and sandbagged the back,” says Zach Feuer. “But I don’t think it’s possible to prepare for five feet.”  Reopening: December 1. “I feel very lucky to have insurance and a good landlord.”

9. Von Lintel
520 W. 23rd St.
Damage: One of the only ground-floor spaces that managed to stay bone-dry. “We duct-taped our windows and doors,” says director Dana Greenidge. “The building we’re in experienced flooding, as did the gallery on the other side of the building. The wonders of duct tape!”
Reopened: November 3.

10. Hasted Kraeutler
537 W. 24th St.
Damage: Two feet of water. “We lost about four works by living artists, which we are thankfully able to reprint,” says Joseph Kraeutler. “Vintage prints would be irreplaceable.”
Targeted reopening: “About two weeks. We’re re-creating Albert Watson’s show exactly as it was.”

11. Yossi Milo
245 Tenth Ave.
Damage: Sixteen inches of water. “I was there before the storm, propping hundreds of works as high as possible on every surface,” says Milo. “Nothing was damaged, but some pieces were less than an inch from the water.”
Reopened: November 7.

12. Marlborough Chelsea
545 W. 25th St.
Damage: There was no time to move Justin Lowe and Jonah Freeman’s sculptural installation before Sandy. The basement also flooded with fifteen
feet of water, zapping the electricity.
Reopening: January 10. “We’re lucky we have the resources to deal with this. Our thoughts go out to the smaller galleries who have been less fortunate,” says director Max Levai.

13. Cheim & Read
547 W. 25th St.
Damage: “We managed to survive the storm with only minimal damage to the gallery and no damage to the artwork,” says Howard Read. But the
carpet was soaked, and “we did lose Internet.”
Targeted reopening: November 15.

Soaked on 27th Street
“Five galleries—Wallspace (14), Derek Eller (15), Foxy Production (16), Winkleman (18), and us—share a basement which was filled to the ceiling with water,” says Katia Rosenthal, assistant director of Jeff Bailey Gallery (17). At Bailey, a makeshift “art hospital”—paper works spread over the floor, aided by an aerator—was improving things, “but there are a lot of unknowns.”

*This article originally appeared in the November 19, 2012 issue of New York Magazine.

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