Nick Hornby: Zygotes and Confessions:
In 2008 the artist Nick Hornby hosted an event with the writer Nick Hornby. The humour of turning the Hornby pair into human homonyms concealed deeper connections to the artist Nick Hornby’s sculptural practice. Bringing together two Nick Hornbys, who in turn often discussed other Nick Hornbys, was a gesture which pluralised and destabilised ideas of authorship and subjectivity. The fixity of those notions is something persistently challenged by Hornby’s sculptures: they often accentuate distance from the artist’s hand through their emphasis on quotation of other artists’ work, and they manifest a clear relationship with digital design. Frequently those elements are combined with a finish which is immaculate, like something machine-made. Mediation is not alien to sculpture, through processes like mould-making and complicated fabrication. But that distance tends to be offset by the conspicuously direct traces of marks in sculpture—the strike of the chisel or residual fingermarks left in shaped wax or clay—and the physical presence of sculpture itself.
Hornby’s work has strenuously avoided diverting the audience’s attention from art to artist. That urge to transmogrify all work into autobiography or self-portraiture, so prevalent in art’s reception, is central to Hornby’s MOSTYN exhibition Zygotes and Confessions. The show’s title pulls in two separate directions: the zygote is a bundle of cells resulting from fertilisation. The confession is an admission, personal knowledge shared. Zygotes and Confessions could therefore be descriptive, announcing those twin elements of Hornby’s practice—the preoccupation with hybridity, and the conversation with subjectivity. In the exhibition, those ideas play out in three broad categories of sculpture: portrait busts, mantelpiece dogs and abstract modernist forms borrowed from artists like Hans Arp. Each group wears a skin of glossy photographic imagery: on the busts are images by photographer and drag queen Louie Banks, on the dogs BDSM imagery, and on the abstract forms images—often startlingly cropped—of swimwear. Their reference to sex is Hornby’s concession to subjectivity, revealing the personal desires of the artist, playfully relocated to a pompous bust, a twee mantelpiece ornament, or a canonic piece of abstraction.
The sculptures all share photographic surfaces, an unfamiliar incursion of photography onto three-dimensional forms, borrowing its reflective sheen too. A dance between flatness and three-dimensions has previously informed Hornby’s method of pairing recognisable sculptures such that they only become recognisable from one aspect; the ‘reveal’ provided by the sculptures’ volumes in fact behaves like an image. The method evokes analytical cubism where painted surfaces appear fragmented in order to capture the shifting encounter of the eye with three-dimensional objects. In Hornby’s work that process is inverted, the unity of a sculptural form ‘breaking’ when it is experienced as an image. The introduction of photography at MOSTYN extends Hornby’s back-and-forth between two and three dimensions, but where before this image aspect was camouflaged, here it is conspicuous. And this time splicing flat image with material volume is fundamentally distorting, a quality which arguably gives Hornby’s work a new subject: the screen.
Hornby has superimposed the photography on the sculptures by a process of dipping, submerging the sculpture through a liquid image which melts around the volume of the sculpture. There is something inescapably digital about this, both in the sense that it serves as a physical, real-life filter or photoshop-like manipulation, and in the fluidity of the image it generates. The LCD screens of phones and computers on which images circulate are liquid. The pandemic has therefore only heightened the relevance of this quality: sculptures which took images from screens ultimately give them back when they themselves are seen on screens as much as in person. The sculptures’ arrangement at MOSTYN, occupying the gallery evenly on plinths of various heights, is reminiscent of the stepped audience in a theatre, which again lends them a sense of separation. Given that Hornby had originally planned to invite the audience to touch the sculptures, this distancing is yet another sadness of the pandemic, but it also serves the work well: re-contextualising the photographs as Hornby has done, the images and snippets of images seem to exist somewhere else (as images on a screen do). This allows the sculptures to embody a new kind of tactility, again a bit like the swipe of a finger on a screen, where touch is built into the form but is also ultimately impossible. The effect has the arm’s-length quality of luxury, presented as attainable and material, but in fact abstract and imaginary. Just as Hornby’s sculptures bring photographic image and sculptural volume together, at MOSTYN the confession has something of the zygote about it. It is hybrid: part tactile, part distant, the imperfections of actual human skin sealed beneath an immaculate reflective glossy surface.
SM: What was the impetus for the new series?
NH: My practice over the last decade has been a very slow and systematic inquiry into authorship—the critique of authorship, methods of eliminating the personal subjective, and questions of digital reproduction. It led me to cool, calculated Boolean operations and slick high-production sculptures. This year—in the middle of lockdown, with the tenth anniversary of my mother’s death, and when I watched my father's Alzheimer’s reach a point he forgot his name and who I was—I split up with my life-partner and turned 40. I decided that I didn’t need to critique authorship or eliminate the personal subjective anymore. In fact, I wanted touch, contact, and altogether more earnest connections with my work.
SM: Was the new technique of liquified photography a solution to a technical problem or just something you came up with?
It’s an incredible process – we print onto a water-soluble film, that when placed on water dissolves leaving only the ink floating. [...]
A publication to accompany the first solo exhibition at a public institution by the London-based sculptor
Texts by Helen Boyd Alfredo Cramerotti Matt Price
80pp + 8pp covers Softback 230 x 190 mm (p) c.38 images
Talking on BBC London with the incredible Salma @salmaelwardany and Lionheart @lionheartfelt about foxes and spicy pepper, public sculpture, the Royal Academy and my upcoming Solo show at Mostyn @mostyngallery. What does a poet, radio present and a sculptor have in common? Well - I think almost everything… symbols, signs, and their manifestation. I’d argue that words can be almost as concrete and material as steel, bronze and marble. Drop a sculpture it could break your foot - but drop words like “you’re fired” “I love you” “yes” “you’re dumped” “I do not consent” - and they can change your life. Form and meaning… the sound of the word, the meaning of the word… the look of an object, the meaning. Both have echos, and rhymes, textures - both quote upon quote upon quote. And Lionheart’s obsession is Architecture… which is so interesting… for a poet to love Brutalism, the Barbican…. Because the transition from blueprint to real is such a surreal step.
Tonight: Starts at 10pm… I’m on 1120pm. @lionheartfelt is a legend - TEDx Speaker, BBC Radio London Presenter, Award Winning Poet and International SpokenWord Performer “uncover London's diverse culture and emerging talent.” Yes Lionheart is his name…. Well its his middle name - what everyone calls him. The first Poet in Residence at the Saatchi Gallery, The first Poet in Residence at Grimshaw Architects — criss-crossing Architecture and poetry - and really engaged in mental health. I met Lionheart at a wonderful dinner arranged by the amazing Rosanna Hill @rosannahill for Citizens of Humanity (@citizensofhumanity) - just before covid.
#TheLateShow @bbcradiolondon #BBC #Radio #Presenters #poetry #sculpture #nickhornby#nickhornbysculpture.
Inner Space, a 24-hour exhibition which is the result of a joint initiative by Oliver Beer Studio and Nick Hornby Studio. This exhibition will bring together contemporary artists from the teams working at Oliver Beer Studio and Nick Hornby studio, alongside works by Henry Moore, Lyn Chadwick, Arthur Fleischmann, Katie Paterson and Tom Sachs among others.
The exhibition will take place on the top floor of Oliver Beer’s central London studio in Soho, and viewing will be by appointment only to maintain social distancing and COVID precautions. Saturday, 15th August 12pm - 7pm at 49-50 Poland street, Soho, London W1F 7ND. Please RSVP to email@example.com to arrange a viewing.
For press release download here.
For checklist download here.
"Happy Hour comes early at this lunchtime edition of Luminaries LIVE!. Join us with Artist Nick Hornby from his London Studio. Grab your lunch and get ready to hear directly from Nick about his latest projects. In Quickfire, learn quirky and unknown facts about the artist. Finish your mid-day art break with an interactive Q&A and find out Nick's "go-to" song when he needs inspiration and feel-good vibes. Can't wait to share this with you!"
Alexander Hankin, Christina Senia, and Timo Weiland MAD Luminaries Co-Chairs
Museum of Arts and Design Jerome and Simona Chazen Building 2 Columbus Circle, NYC 10021
The best art to enjoy outdoors, from David Shrigley in Folkestone to Barbara Hepworth in Salisbury
Traditional galleries are unlikely to welcome visitors for some time yet, but there is plenty of interesting and challenging art to be seen in the open around the UK
Harlow Sculpture Town
Harlow New Town in Essex has been acquiring and installing contemporary works of sculpture since 1953. The 100th work – Nick Hornbyʼs Twofold – arrived late last year. Standing five metres tall, the curling, elegant, whiplash form of this steel sculpture hides lines from Michelangeloʼs David and a drawing by Kandinsky, which reveal themselves from different angles as you circle it. All but 10 of the Harlow sculptures are installed outdoors, and the town has just plotted them on an interactive map, so you can test your orienteering skills while pondering what we might now wish to place on Britainʼs newly empty public plinths.
Definitive, Monumental and Progressive: An Interview with Sculptor Nick Hornby
The sculptures of Nick Hornby are intimidating, impressive and mighty. Creating monumental pieces which are transformative of any space, it is hard not to recognise his work. A fellow of the Royal Society of Sculptors since 2014, Nick Hornby is certainly at an advantageous position in the contemporary art world. The Norman Rea Gallery were fortunate enough for him to share some of his knowledge with us.
NRG: Why have you chosen sculpture? NH: I have a stronger response to objects than images or words. Interpretation is the combination of text and then something else – perhaps “gut” or phenomenological feeling. A Rothko doesnʼt move me to tears, but Donatelloʼs Mary Magdalene does. That physical feeling you get with objects – a small glass marble, a cathedral arch, a Giacometti or a Richard Serra. Humans are physical, subject to gravity, breakable. We have skin, nails, cartilage. We touch door handles, steering wheels, pillows, other people. Objects can be incredible – and when they are imbued with meaning... the combination is very powerful.
The Outdoor art installations defining public space, Jessica Klingelfuss, Wallpaper
One’s perception of Nick Hornby’s sculpture literally depends on perspective: using computer algorithms, he cross-pollinates distinctive, often contrasting forms to mesmerising effect. His largest work to date, a 5m tall, Corten steel piece, resembles Michelangelo’s David from one angle, and a line from a 1925 Kandinsky drawing when seen from another. The combination of the most recognisable of Renaissance artworks with an excerpt from one of the past century’s greatest abstract artists is visually arresting as well as thought-provoking – speaking to the entwinement of figuration and abstraction, old and (somewhat) new. It also takes an impressive feat of engineering to steady the gravity-defying form. Titled Twofold, the sculpture was commissioned for the city of Harlow, a new town in Essex with a robust public art collection that has often flown under the radar. Joining the work of Rodin, Hepworth and Chadwick among others,Twofold is a testament to the imagination and finesse of one of contemporary Britain’s most thrilling sculptural talents.
–– TF Chan
5 March 2020
Panel talk: Sculpture in the Garden City. Panel discussion: Nick Hornby (Artist), Brian Mckenzie (Operations Director, Berkeley Homes), Jayson Mansaray (BBC Journalist) Leyla Fakhr (Curator, British Modern and Contemporary Art)
250 City Road, London
Roundabouts, concrete cows and the Moore that lost its head:
Nick Hornby in Harlow, U.K.
Nick Hornby’s largest sculpture to date is unveiled this month in Harlow, U.K. The town’s historical collection includes works by Auguste Rodin, Barbara Hepworth, Henry Moore, and Elizabeth Frink, among many others, so is a fitting environment for an artist whose subject is frequently the canon and its construction. For this commission, Hornby has crossed one of the most canonic of figurative sculptures, Michelangelo’s David, with a curving line from a 1925 Kandinsky drawing. In one rotation, David is visible; in another, it is Kandinsky’s flamboyantly abstract squiggle.
When installed, the sculpture will stand five meters tall. Being three-dimensional and viewable in the round, the form that results from this meeting of Renaissance sculpture with high Modernist abstraction is more often than not unrecognizable. The experience of looking at it is strangely reminiscent of early analytic Cubist paintings. There, a still life or portrait is built up from fragmentary shards, which hint at the composite nature of perception—memory stitching together smaller segments of focus, often from slightly different angles. Hornby’s sculptures reverse this to the extent that their moment of recognition is singular rather than composite. But like Cubism, they emphasize the role of memory in perception, and like Cubism they have an innate hybridity—in a Cubist collage the newspaper is both the object and its representation, and Hornby’s sculptures similarly play with status as both image and object. Hornby’s work is also a reminder that figuration haunts abstraction, and that all figuration is abstract.
Games with perception have recently assumed new relevance; in an era of alternative facts and deep fake videos, artists are recapturing this method of calling attention to the paradoxes and contrivances of representation. Lydia Okumura has been doing this since the 1970s, arranging lines and blocks of tone on walls and floors so that from a particular place they appear three-dimensional, activating the fictions of lines which represent space, like contours on maps, or architectural plans. Darren Harvey-Regan approaches the idea differently, intricately linking sculpture with photography in work like “The Erratics,” by presenting a point where the camera’s singular view explains otherwise abstruse forms. These experiments are fundamentally pictorial to the extent that they use a two-dimensional picture plane to elucidate three dimensions.
Nick Hornby uses technology to push this conversation around perception entirely into a sculptural space; where Harvey-Regan and Okumura have at one end flatness and at the other end three dimensions, Hornby’s concerns seem always three-dimensional. His variables are instead the tension between abstraction and figuration, or between the old and the new. That contest plays out both in the work he responds to and in the technologies he uses, which combine canonic materials like marble or bronze with contemporary tools. His approach draws from the Boolean framework that underpins digital systems: commands like “and,” “or,” and “not” serve as the architecture of programming and data-searching, but are used by Hornby to intersect known forms.
The Harlow sculpture started as an imaginary comparison between art at two poles of representation, whose forms Hornby digitally crossed and modeled as a solid, five-meter-tall object. The tension between their two idioms is neatly repeated in the sculpture’s process, which combined laser-cutting and rolling. The sharp cutting of a beam of light, and manipulation by vast weight, have a distance between them as significant as the distance between Michelangelo and Kandinsky. Hornby has joined these historical artists via a digital process and the material qualities of Cor-ten steel to create a nuanced monument to the pliability and reproducibility of sculpture.
The new sculpture will be on view at Harlow Science Park starting November 9, 2019.
Nick Hornby’s largest sculpture to date titled Twofold was commissioned by Harlow Art Trust. It is the 100th piece in Harlow’s public sculpture collection which includes works by Auguste Rodin, Barbara Hepworth, Henry Moore, and Elizabeth Frink, among many others, so is a fitting environment for an artist whose subject is frequently the canon and its construction. For this commission, Hornby has crossed one of the most canonic of figurative sculptures, Michelangelo’s David, with a curving line from a 1925 Kandinsky drawing. In one rotation, David is visible; in another, it is Kandinsky’s abstract line.
Inside sculptor Nick Hornby's Notting Hill studioNick Hornby’s studio has all the trappings of a deconsecrated chapel or, perhaps, a neo-gothic house. Ogee arches adorn the balustrades of the two mezzanine levels, there is a fireplace in the centre with a vast stone lintel and the plaster walls reveal sections of exposed brickwork. ‘I think it’s rather pertinent,’ says Nick – because, in fact, the entire space is artificial, created at the whim of one of his predecessors. ‘It is a breeze-block warehouse, clad in a theatrical stage and performing as a gothic, church-like space,’ he explains. [Read More...]
22 October 2019
MOSTYN Open 21 'Audience Award' winner announced
Nicky Hornby wins £1,000 award
We are delighted to announce winner of the MOSTYN Open 21 'Audience Award' The £1,000 prize is awarded to Nick Hornby for his work Vanity Working on a Weak Head Produces Every sort of Mischief (Amanda I) which received the most votes from the visiting public during the exhibition.
Voting closed on Sunday 20th October. The exhibition runs until Sunday 27th October.
This ‘meta-Cubist’ bust is part of a series named Patrons, Muses and Professionals, derived from nineteenth century portraits on view at the Victoria and Albert Museum in London. Each work hybridises three distinct portraits, one individual representing each of the titular archetypes. This particular unique work is a collaboration with the fashion and celebrity photographer Louie Banks and uses his portrait of an iconic American transgender model and performance artist.
Two other prizes were announced at the exhibition opening in March. Sarah Entwistle was awarded the £10,000 Main Prize for her sculptural installations You can make your own balance sheet and Do not attempt to break the seal and Richard Wathen was awarded the 'Exhibition Award' for his paintings 'Bather', 'Mantled', 'Moonbather' and 'Moonbather 3'.
Selected from over 750 artists who responded to an open-call attracting submissions from across the globe, the 34 artists showing in the MOSTYN Open 21 exhibition represent the continued rise of the gallery's international profile with participants located in the UK, Austria, Belgium, Czech Republic, Germany, Portugal, Spain, USA and Australia.
About MOSTYN Open Since its inception in 1989, the MOSTYN Open has nurtured and presented the talent of established and emergent contemporary artists internationally. The selectors for MOSTYN Open 21 were: Jennifer Higgie, Editorial Director, Frieze, London; Katerina Gregos, Independent Curator, Brussels; Hannah Conroy, Co-Director and Curator, Kunstraum, London; Alfredo Cramerotti, Director, MOSTYN. And of course, the visiting public for the 'Audience Award'.
22 June - 25 August 2019
Parallel Lines: Drawing and Sculpture, The Lightbox, Woking
This exhibition will explore how artists have used line in both drawing and sculpture. Guest Curator Caroline Worthington (Director, Royal Society of Sculptors) will use twentieth century sculptures from The Ingram Collection placed alongside contemporary drawings from the members of the Royal Society of Sculptors (RSS). The RSS is based at Dora House, South Kensington and is an artist led, membership organisation. They lead the conversation about sculpture today through exhibitions and events for all.
The Ingram Collection is one of the largest and most significant publicly accessible collections of Modern British Art in the UK, available to all through a programme of public loans and exhibitions.
Founded in 2002 by serial entrepreneur and philanthropist Chris Ingram, the collection now spans over 100 years of British art and includes over 600 artworks. More than 400 of these are by some of the most important British artists of the 20th century, amongst them Edward Burra, Lynn Chadwick, Elisabeth Frink, Barbara Hepworth and Eduardo Paolozzi. The sculpture holdings are significant, featuring works by artists such as Elisabeth Frink, Barbara Hepworth, Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Robert Clatworthy, Sir Jacob Epstein, Eric Gill, Bernard Meadows, Eduardo Paolozzi, William Turnbull and Leon Underwood.
13th July - 27th October
MOSTYN Open 21
Selected artists: David Birkin, Rudi J.L. Bogaerts, John Bourne, Alexandre Camarao, Javier Chozas, Martyn Cross, Eugenia Cuellar, Jessie Edwards-Thomas, Sarah Entwistle, Expanded Eye, Julia R. Gallego, David Garner, Thomas Goddard, Oona Grimes, Georgia Hayes, Nick Hornby, Sooim Jeong, Nancy Jones, Adam Knight, Piotr Krzymowski, James Lewis, Neil McNally, Irene Montemurro, Anna Perach, Jessica Quinn, Ariel Reichman, William Roberts, Samantha Rosenwald, Klara Sedlo, Corinna Spencer, Chris Thompson, Richard Wathen, Paul Yore, Madalina Zaharia.
Selectors: Jennifer Higgie, Editorial Director, Frieze, London; Katerina Gregos, Independent Curator, Brussels; Hannah Conroy, Co-Director and Curator, Kunstraum, London; Alfredo Cramerotti, Director, MOSTYN
MOSTYN, 12 Vaughan Street, Llandudno, Conwy, LL30 1AB
Abstract vs Figure 1952 – 2019
12 Jan–22 Feb 2019
Pinsent Masons, 30 Crown Place, London EC2A 4ES
Arthur Fleischmann (1896 - 1990)
Henry Moore (1898 – 1986)
Eduardo Paolozzi (1924 – 2005)
Pinsent Masons is delighted to announce an exhibition of sculptural work curated by the fourth Artist in Residence, Nick Hornby. The exhibition features work by key Modernist sculptors: Arthur Fleischmann (1896 – 1990), Henry Moore (1898 – 1986), and Eduardo Paolozzi (1924 – 2005) alongside that of contemporary artists Oliver Beer, Nick Hornby, Alex Massouras and Zuza Mengham.
Sculpture: Modern and Contemporary
Beaux Arts, London
48 Maddox St, Mayfair, London W1S 1A
Three young contemporary sculptors show for the first time with Beaux Arts London in their upcoming mixed exhibition ‘Sculpture: Modern and Contemporary’ alongside some of the most significant artists from the twentieth century and other established contemporary artists.
Particular highlights of the exhibition include works by Nick Hornby (b 1980), a sculptor whose practice is an inquiry into the nature of art history. His sculptures are formed from the intersection of quotations from the art historical cannon. Each piece is a computational calculation which is transcribed intotraditional materials like Bronze or Marble. The works selected reference Michelangelo’s David and19th Century portrait busts all of which are on display at the Victoria and Albert Museum. [...] “Joining figures together I found in time I wanted to merge them so completely they formed a neworganic unit - a simple mass of whatever shape I liked, containing only that number of heads, limbs or other detail I felt necessary.” Kenneth Armitage quoted in N. Lynton, Kenneth Armitage, London, 1962
Exhibition dates: Wednesday 5 December 2018 – Saturday 26 January 2019
For further details see: http://www.beauxartslondon.uk
21 Cork Street, London W1S 3LZ
29 November, 2017 – 5 January, 2018
Flowers Gallery is pleased to announce the opening of the 36th edition of the annual Small is Beautiful exhibition.
On display will be works by more than 100 selected artists, each measuring no more than 7 x 9in (18 x 23cm). A rare opportunity to purchase small scale pieces by many well-known artists and new talents working across a range of media.
Works from Small is Beautiful will be available to purchase from Flowers Gallery’s online store.
Opening hours: Monday – Saturday 10am – 6pm
For more information visit www.flowersgallery.com
Router for Loos Dado Rail, 2011
6 x 2 1/2 x 2 1/2 inches, edition of 10
Ornament and Crime
31 Oct – 30 November 2018
30 Crown Place, London EC2A 4ES
“As Artist in Residence at Pinsent Masons, I have been thinking about criminality in the art world – Artists stealing ideas, copying images. My research brought me to Adolf Loos - a key figure in modern architecture – who in 1908 famously wrote an essay criticising decoration. It was titled “Ornament and Crime.”
On the cover of my copy of the publication that contains Loos's essay, there is a portrait, in profile form, of Loos himself. Looking at his profile – I noticed some similarity between the curves of his nose, the acute shape of his lips and dome of his forehead, and the shapes of Victorian ornamentation. Throughout Architectural history, theorists have argued in favour and against whether good design is linked to the proportions of the human figure. A famous example is The Vitrubian Man. Its likely you’ve seen the iconic image Leonardo da Vinci made of a man with his arms and legs spread out contained within a circle and a square.
Returning to Adolf Loos - I decided to steal his profile and used it to fashion a router bit. A router is the tool - a spinning shaped blade that is used to carve decorative features of Victorian furniture. There are many standard types which have evolved. This router bit is a tool and a sculpture.
Over the next few weeks – as I continue this enquiry – I plan to update the display.”
– Nick Hornby
Panel Discussion: The New Luxury
Wednesday, 21 November, 2018, 6:30pm - 8:30pm
Elephant West, 62 Wood Lane, London, W12 7RH
The concept of luxury is ever changing—from era to era, and from person to person. For some, luxury exists in material form, as something to desire and long for, while for others it is more intangible, the attainment of time, space, peace and quiet.
Moderated by Emily Steer the panel features artist Nick Hornby, writer and art critic Hettie Judah, and Head of Content at The Outnet Claudia Mahoney.
26 August 2018
"In Perfect Form" – The Making Of 5 Carlos Place, Matches Fashion
The Making Of 5 Carlos Place
In Perfect Form
Sculptor Nick Hornby shares his vision behind the hanging sculpture he has created for 5 Carlos Place. Suspended from the ceiling above a staircase, the piece – a profile of Michelangelo’s David extruded at an exceptionally oblique angle – allows for different perspectives depending where the viewer is stood, made even more formidable by the juxtaposition of the stairway’s light.
New Commission 5 Calros Place, Matches Fashion, London
Suspended from the ceiling above a staircase, the piece – a profile of Michelangelo’s David extruded at an exceptionally oblique angle – allows for different perspectives depending where the viewer is stood, made even more formidable by the juxtaposition of the stairway’s light.
"The 7,000-square-foot Carlos Place isn’t just a shop (Matches already has four of those). Kicking off with a launch party hosted by Prada, the building will house more than 40 events in its opening months, including supper clubs, dance sessions and floristry classes. Celebrities and designers will also be invited to record podcasts in Matches own in-house broadcasting studio, while other guests may stop by to see the sculpture Matches commissioned from acclaimed British artist Nick Hornby, Matches Chief Brand Officer Jess Christie, told Forbes."
– Kitty Knowles, Forbes Magazine
20 Sept - 10th November 2018
PAINTING NOW 2
Riccardo Crespi Gallery, Milan
Romain Bernini | Liselotte Höhs | Nick Hornby | Genti Korini | Marcelo Moscheta | Lisi Raskin | Roee Rosen | Marta Sforni | Veronica Smirnoff | Johanna Unzueta | Gal Weinstein.
Riccardo Crespi presents Painting Now 2, a group show that continues the inquiry on contemporary painting, three years after the first episode in the gallery.
Starting from the previous exhibition, without claiming to be exhaustive, the show aims to display some of the tendencies of contemporary art through painting, which is - never as it is now -experiencing such a rich and protean season.
The genesis of the exhibition is based on the choice of some interesting names on the international scene, by letting the artists free to propose one or more works that best express their artistic approach. Furthermore, pictorial research is often presented as a counterpoint to the dematerializing technological domination that brings the creative forms and the expression of the human soul towards new frontiers and aesthetic structures which in turn influence contemporary painting itself, with new surrealisms.
After being associated with a more traditional practice and marginalized for a long time, painting can now be used as a means to express new meanings, similarly to the conception that Judith Butler applies to certain offensive words in Excitable Speech (1997): we can produce a political action towards an aesthetic, not only by erasing it, but also by charging it with new values. In Nick Hornby’s works, painting is a way to reflect on the glorious history and critique of art, or it can be transformed, for Johanna Unzueta, into a research on the three-dimensionality of the pictorial object and its implications with traditional artefacts and geometric abstraction in Latin America, as it could constitute a sort of 'return to order' of the canvas against the excessive power of digital in the paradoxical architectures of Genti Korini.
Mask Picasso (ii)
Marble Resin Oil Paint
101 New Bond Street, London
Over 80 leading artists and architects unite for Cure3, a selling exhibition in aid of The Cure Parkinson's Trust at Bonhams, London, 25-28th October 2018.
Cure3 (Cure Cubed) 2018 is the 2nd edition of the acclaimed selling exhibition devised by Artwise in partnership with Bonhams to raise awareness and funds for The Cure Parkinson’s Trust (CPT). Featuring original commissions by more than 80 international artists and architects, Cure3 is an opportunity to buy covetable art whilst supporting the vital work of The Trust.
Alice Anderson, Ron Arad, Miranda Argyle, Barnaby Barford, Rana Begum, Tony Bevan, Peter Blake, Rob and Nick Carter, Daniel Chadwick, Jake & Dinos Chapman, Gordon Cheung, Mat Collishaw, Adam Dant, Pablo de Laborde Lascaris, Adeline de Monseignat, Bouke de Vries, Edmund de Waal, Diana Edmunds, Abigail Fallis, Knopp Ferro, Laura Ford, Ryan Gander, Andy Goldsworthy, Lothar Götz, Elpida Hadzi-Vasileva, Hassan Hajjaj, Nigel Hall, Alex Hartley, Carmen Herrera, Nick Hornby, Paul Huxley, Alison Jackson, Vanessa Jackson, Tess Jaray, Ben Johnson, Anish Kapoor, Idris Khan, Phillip King, Helen Kirwan-Taylor, Tania Kovats, Brigitte Kowanz, Chris Levine, Andrew Logan, Andrew McIntosh (Mackie), Susie MacMurray, Elizabeth Magill, John Maine, Helen Marten, Harland Miller, Claire Morgan, Mariko Mori, Annie Morris, Humphrey Ocean, Angela Palmer, Florence Peake, Simon Periton, Julian Perry, Thomas J Price, Stephanie Quayle, Saad Qureshi, Danny Rolph, Andrew Sabin, Nina Saunders, Conrad Shawcross, Anj Smith, Dillwyn Smith, Amy Stephens, Sinta Tantra, Troika, Gavin Turk, Charlotte Verity, and Jonathan Yeo.
Royal Society of Sculptors Summer Exhibition
Come and explore sculptor and its many possibilities at the Royal Society of Sculptors in South Kensington. The exhibition is curated by Jo Baring, Director of the Ingram Collection of British Modern Art.
21st June - 4th August 2018
Frestonian Gallery, London
Sara Barker | Adrian Berg | Tim Braden | Anthony Caro | Lubna Chowdhary
William Crozier | Sonia Delaunay | Sam Herman | David Hockney | Nick Hornby
Ken Kiff | Jessie Makinson | Laurence Owen | Eduardo Paolozzi | David Price
Tony Sleep | Douglas White
Frestonian Gallery is delighted to present ‘Year One’ - a show featuring works by every artist exhibited at the gallery in its inaugural year. The show encompasses the work of 17 artists - from recent graduates such as Jessie Makinson and Laurence Owen, to established and acclaimed contemporary artists such as Nick Hornby, Douglas White and Sara Barker, through to major figures in 20th century European art such as David Hockney, Sir Anthony Caro, Sonia Delaunay and Sir Eduardo Paolozzi. The exhibition spans painting, drawing, sculpture, studio glass, printmaking and photography - embracing the gallery’s diversity of aesthetic, and also its commitment to the development of dialogues between generations, practices and artistic endeavours in the broadest sense.
Exhibition dates: 21st June - 4th August 2018 For further details see: www.frestoniangallery.com
4 May 2018
ART IN THE SQUARE MILE – Kate Gordon, Evening Standard
Nick Hornby Sinta Tantra
Sculptor Nick Hornby and painter Sinta Tantra met at the Slade in the early 2000s. Both are best known for their site-specific work and installations in the public realm: Hornby for his sculpture commission at Glyndebourne last year, and Tantra, a British artist of Balinese descent, for her 2017 Folkestone Triennial painted building and a 330-yard painting at Canary Wharf.
Occasionally they collaborate. You can now follow a trail of their joint work across the City, from Finsbury Avenue Square through to 201 Bishopsgate, The Broadgate Tower and Exchange House. Tantra’s colours are inspired by a sort of 18th-century Farrow & Ball, while Hornby’s work references Picasso and Matisse.
Until May 25. Viewings Monday to Friday 10am-4pm. Visit broadgate.co.uk
– Kate Gordon, Evening Standard
9 Apr 2018
Nick Hornby on Magic and Method
“I’m not a digital native—I started my undergraduate at the exact point that analogue was transitioning to digital.” Nick Hornby discusses synthetic works, objectivity and truth. Words by Robert Shore
14 March - 21 April 2018
MAGIC & METHOD: NICK HORNBY | EDUARDO PAOLOZZI | DOUGLAS WHITE
Frestonian Gallery, London
12 March 2018 - 25 May 2018
Hornby Tantra | Collaborative Works III : Proposals
Multiple sites across Broadgate, London
Commission by Broadgate / British Land
Monday 26th February 2018
Harlow Art Trust has appointed British sculptor Nick Hornby to design a new work for Harlow’s new Enterprise Zone. It will be located at the heart of the new Harlow Science Park – home to Anglia Ruskin University’s Medical Technology Innovation Centre.
The brief for this sculpture was to create a focal point that resonated both with the narrative of Science and Technology as well as Harlow’s cultural legacy. Hornby’s practice is ideally suited to this brief – as he appropriates art historical references and creates new hybrid objects using digital technologies.
Harlow Art Trust was founded in 1953 and is one of Britain's leading regional arts organisations. Over the past fifty years the Trust has built up a remarkable collection of sculpture by some of the foremost names in modern and contemporary art, which attracts visitors to Harlow from all over the world. To walk around the centre of Harlow is to experience a large-scale open-air art museum in which can be seen work by Auguste Rodin, Barbara Hepworth, Henry Moore, Ralph Brown, Lynn Chadwick, Lee Grandjean, Elizabeth Frink amongst many others. [...]
PRESS RELEASE 20 February 2018
Pinsent Masons announces fourth Artist in Residence: Sculptor Nick Hornby International law firm Pinsent Masons has appointed sculptor Nick Hornby as its new ‘Artist in Residence’.
Hornby will be working on site in the firm's London headquarters, interacting with all staff and creating sculptural interventions throughout the building for the duration of 2018. This will include a series of displays in the main foyer and in client areas. He previously displayed one of his works in the firm in 2017.
David Isaac, Partner and head of Pinsent Masons' Art Committee says:
"I'm really pleased to offer our colleagues and visitors the opportunity to enjoy Nick Hornby's work once again. Nick immerses himself in his subjects and his sculptures will be inspired by interactions and conversations with all our staff. Nick is extremely accessible and his work was extremely popular last year. I know there will be significant interest in working with Nick again."
"I'm delighted to have this opportunity to work within the context of a law firm, seeing the building as both an ad-hoc studio space as well as an exhibiting opportunity - testing artworks in this non-gallery setting. I look forward to spending time talking with lawyers and learning from their vast collective knowledge – what it means to judge an artwork."
The residency will last for 12 months, and was organised with the assistance of independent art consultant Maggie O'Regan. [...]
Symposium: 10/11/2017 (09:00-18:30)
Great Hall King's Building Strand Campus
"Modern Classicisms: Classical Art and Contemporary Artists in Dialogue," Kings College.
Panel: Ruth Allen, Christopher Le Brun (chair), Nick Hornby, Minna Moore Ede and Elizabeth Prettejohn.
What is it about Greek and Roman art that still captivates the modern imagination? How can contemporary art help us to see the classical legacy with new eyes? And what can such modern-day responses – situated against the backdrop of others over the last two millennia – reveal about our own cultural preoccupations in the twenty-first century?
The art of ancient Greece and Rome is not just a thing of the past, it also exists in the present day – whether as ideal, antitype or point of departure. During the 2017–2018 academic year, King’s College London is hosting a range of events exploring contemporary responses to classical visual traditions: these will include an exhibition at Bush House in in March/April 2018, organised in collaboration with the Musée d’Art Classique de Mougins, and designed to coincide with our co-hosting of the AAH Annual Conference.
Our opening Modern Classicisms workshop on 10th November sets out to explore the contemporary relevance of classical visual traditions: by bringing together art historians, collectors, critics and artists, we aim to examine what the classical artistic legacy means from the vantage-point of contemporary artistic practice. Confirmed artists, speakers and respondents include: Dalya Alberge, Ruth Allen, Tiphaine Besnard, Bruce Boucher, James Cahill, Léo Caillard, Michael Craig-Martin, Matthew Darbyshire, Charlotte Higgins, Brooke Holmes, Nick Hornby, Jessica Hughes, Patrick Kelley, Polina Kosmadaki, Christopher Le Brun, Lisa Le Feuvre, Christian Levett, Isabel Lewis, Simon Martin, Robin Osborne, Christodoulos Panayiotou, Elizabeth Prettejohn, Marc Quinn, Mary Reid Kelley, Alexandre Singh, Michael Squire, Caroline Vout and Sarah Wilson.
Sculptor Nick Hornby in Conversation with Composer Nico Muhly
Photo by Nick Ballon.
Nick Hornby and Nico Muhly met in 1999, in the Garden of Cosmic Speculation at Portrack House in Scotland. The garden was conceived by Maggie Keswick and Charles Jencks (who are also rumored to have coined the term “postmodern”). Almost twenty years on, Hornby and Muhly have a conversation about performativity and the landscape. Hornby currently has an exhibition of sculpture in the gardens of Glyndebourne Opera House in Lewes, and Muhly’s Marnie operan, based on the famous Hitchcock film of the same name, gets its world premiere at the English National Opera in London in November.
NICO MUHLY: Unlike many world-famous opera houses, Glyndebourne is equally well known for its position in the natural world that surrounds it. There is also a codified sense of ritual around attending a show there.
NICK HORNBY: Nico, I agree. But first I’m distracted by the word “natural.” Glyndebourne isn’t “natural”—picnicking in black-tie isn’t an everyday affair (I normally picnic in jeans and spill ketchup down my shirt). Glyndebourne is leisure that’s hard work. But this is no bad thing. I’m a sculptor and I love hard work . . . these objects take months and months of design, and cutting and sanding.
Young artist Nick Hornby reconsiders master works to create contemporary sculptures on a grand scale.
BY MAXWELL WILLIAMS PORTRAIT BY NICK BALLON PRODUCED BY MICHAEL REYNOLDS
“I have an ambivalent and ambiguous relationship to David,” says London-based artist Nick Hornby. “I think most people do. It’s completely amazing, but it’s also quite cheesy.”
Given the amount of art history infused in the sculptor’s work, it’s surprising to hear him talk about the venerated Renaissance work in these terms. His solo exhibition on the grounds of the Glyndebourne opera house is rife with interpretations of Rodin and Brancusi, and, of course, nods to Michelangelo’s heroic David. In fact, the show, which runs until next spring, is called “Sculpture (1504 – 2017)”—1504 being the year David was completed.
The works, which are placed inside and out of the opera house, are grand in scale and scope. One outdoor piece, for instance, is a totemic bronze that reveals Rodin’s The Age of Bronze (1875) figure from one angle and a Brancusian abstraction from another. Another, God Bird Drone, reveals the silhouette of David from a single point if you were to fly above it.
And then there’s the work that recently appeared in a group show called “The Curators’ Eggs” at Paul Kasmin Gallery this summer, which is part of a series derived from Matisse’s cutouts, which Hornby hopes will materialize into a stand-alone show.
Still, Hornby maintains a healthy skepticism about the historical narrative of the works he’s drawing from. And that suspicion comes from firsthand experience. When he was a younger artist, Hornby spent long hours drawing in the Victoria & Albert Museum’s Cast Courts—a room filled with plaster versions of historical sculptures. He was eventually shortlisted for a commission at the V&A because of his reputation for taking various sculptures and putting them together. Though he didn’t get the commission, it nevertheless solidified his line of inquiry into historical coalescence. But it didn’t salve his frustration with the entire historical through-line.
In fact, seeing famous moments boiled down to one or two people and artworks, such as Picasso with Cubism or Pollock with Abstract Expressionism, has reinforced Hornby’s uneasiness about art history.
“A lot of this is about my struggle with grand narratives,” he says. “Of course, it’s a fairy tale... The grand narratives single out individuals who are hailed as geniuses. I question the author. I think meaning is contingent on context. But, on the other hand, Picasso was a fantastic artist. So was Rodin and Michelangelo and Barbara Hepworth and Louise Bourgeois.”
The Curators' Eggs
Paul Kasmin Gallery, 293 Tenth Avenue
July 12 – August 18, 2017
Contemporary Sculpture Fulmer Fulmer Common Rd, Slough SL3. Open by appointment
Mask (Picasso i), 2017, Contemporary Sculpture Fulmer, UK
PANEL TALK: Queer British Art with Tate's curator - Clare Barlow and Tim Redfern at Wilderness Festival
Tate Britain Presents Queer British Art and Identity Sunday Papers Live Culture Section
Talk 17:55-18:40 on Sunday Aug 6.
Clare Barlow, curator at Tate Britain will be joined by performer Tim Redfern, artist Nick Hornby and activist Paris Lees to discuss the diverse connections between sexuality, gender identity and art to uncover a past which is richer and stranger than you might think.
Clare Barlow is curating the exhibition ‘Queer British Art, 1861-1967’ at Tate Britain (until 1 October 2017) where she is Assistant Curator, British Art 1750-1830. Clare grew up in the 1980s and came out as lesbian at the age of 25. She completed her PhD at King’s College London and worked at the National Portrait Gallery before joining Tate Britain. Her research focuses on art, gender and sexuality and she has appeared in arts documentaries for the BBC and Channel 4.
Nick Hornby, Love Art London,Crane.tv. Video Interview: