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Newsletter August 2017 

 

Dear friends,

Tomorrow is the last day of  “The Curators’ Eggs” at Paul Kasmin gallery, NY.   Below are some images from the show. 

Next week Glyndebourne Opera Festival is coming to an end, but my work remains installed until March 2018 and you can email alex.warner@glyndebourne.com to arrange an appointment.  

The shows received coverage in: The Art Newspaper, The FT, The Times, Spectator Life, Vogue, Tatler, Town & Country, Artdaily.orgArtsy, ArtLyst, Blackbook, and Features in  FAD, Blouin ArtinfoFword MagazineDocument Journal, NYNE Magazine, Pylot Magazine

Finally, Last weekend I took part in a panel discussion about Queer British Art with Tate's curator - Clare Barlow and Tim Redfern at Wilderness Festival.  Pictures here.

And, in London, I’ve recently installed one of the collaborative Hornby Tantra pieces at Pinsent Mason LLP along side a Michael Craig Martin site specific commission. Pictures here

Very best wishes, 

Nick 

 

CURRENT

The Curators' Eggs
Paul Kasmin Gallery, 293 Tenth Avenue 
July 12 – August 18, 2017 

Sculpture (1504-2017)
Glyndebourne 

Until March, 2018


Contemporary Sculpture Fulmer 
Fulmer Common Rd, Slough SL3. Open by appointment 

Mask (Picasso i), 2017, Contemporary Sculpture Fulmer, UK


Pinsent Mason LLP
30 Crown Pl, London EC2A 4ES

The Horizon Comes in Chinese Blue, Hague Blue, Archive, Railings, Cornforth, Bubblicious and Firefly Red, 2013

PRESS CLIPPINGS

Looking Sharp, The Times, May 2017
Hornby’s art historical smorgasbord at Glyndebourne, Gareth Harris, The Art Newspaper, July 2017
Stronger sales and supersize cigarettes, Melanie Gerlis, The Financial Times
12 Artists in Summer Group Shows Who Deserve Solo Shows, Artsy, Aug 2017. 
 

[...] Hornby’s untitled sculpture, a highlight of this 13-artist show, might remind you of a fragment of an ornately carved walnut table, albeit one that’s scaled for a giant. [...] This visual puzzle is a multi-layered art-historical reference. The woman is a three-dimensional rendering of Henri Matisse’s cut-out Acrobat (1952). When Hornby doubled the rendering [...] he found that the result looked, from the front, surprisingly similar to the mask in Picasso’s Les Demoiselles d’Avignon (1907).

– Alex Forbes

Nick Hornby: Grand Narratives and Little Anecdotes, Document Journal, July 2017
Nick Hornby, Sculpture in 2017, Kat Kuch, FWORD Magazine, June 2017
A Very English Affair: Vogue’s Hamish Bowles Attends a Summer Opera Festival in Glyndebourne, Hamish Bowles, Vogue, June 2017
 

[...] His dynamic pieces morph iconic sculptures by such masters as Michelangelo, Rodin, and Brancusi (in a technique that could only be possible with the benefit of contemporary technology) so that as you walk around them, familiar silhouettes fall into view only to melt into others as you complete the circle. Seeming to sprout from the bulrushes fringing a pond, standing proud among the sheep and lambs, or set on plinths in a wood-paneled gallery like traditional portrait busts, the works were a happy complement to the operatic experience that Vick had conceived—the energy of the present reverberating in the storied wonder of this exceptional place.

– Hamish Bowles

Simplicity in Complex, Claire Meadows, After NYNE Magazine, August 2017
Mark Sherin interviews artist Nick Hornby, Mark Sherin, FAD, Aug 2017
Copyright © 2017 Nick Hornby, All rights reserved.
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