Left to right: MaryAnne Stevens, Hélène Binet. Photo: Emma Boittiaux
A conversation between Hélène Binet and MaryAnne Stevens.
They were discussing Hélène Binet’s work within her exhibition ‘Oscillations: From Villa Saraceno to Lunuganga Garden’ at Large Glass.
Hélène Binet has travelled the world to photograph historic and contemporary buildings, as well as projects in the making. Her work has been exhibited at distinguished museums and institutions, including the Salone del Mobile in Milan; Royal Academy of Arts in London; Power Station of Art, in Shanghai; Bauhaus Archive in Berlin and the 13th International Architecture Biennale di Venezia.
She has produced a large number of books including the recently published ‘Hélène Binet’ by Marco Iuliano and Martino Stierli (Lund Humphries). Binet is the recipient of the 2019 Ada Louise Huxtable Prize. She was made an Honorary Fellow of the Royal Institute of British Architects in 2007 and has just been honoured with the 21st Lucie Awards for Achievement in Architecture.
MaryAnne Stevens is an independent art historian and curator. She was Director of Academic Affairs, and, served as Acting Secretary at the Royal Academy of Arts. She has curated many exhibitions, most recently After Impressionism: Inventing Modern Art (National Gallery London, 2023), and on Architecture, from Palladio to Russian Constructivism. She is a member of the Faculty of Architecture at the British School at Rome and a trustee of the Royal Institute of British Architects.
They were discussing Hélène Binet’s work within her exhibition ‘Oscillations: From Villa Saraceno to Lunuganga Garden’ at Large Glass.
Hélène Binet has travelled the world to photograph historic and contemporary buildings, as well as projects in the making. Her work has been exhibited at distinguished museums and institutions, including the Salone del Mobile in Milan; Royal Academy of Arts in London; Power Station of Art, in Shanghai; Bauhaus Archive in Berlin and the 13th International Architecture Biennale di Venezia.
She has produced a large number of books including the recently published ‘Hélène Binet’ by Marco Iuliano and Martino Stierli (Lund Humphries). Binet is the recipient of the 2019 Ada Louise Huxtable Prize. She was made an Honorary Fellow of the Royal Institute of British Architects in 2007 and has just been honoured with the 21st Lucie Awards for Achievement in Architecture.
MaryAnne Stevens is an independent art historian and curator. She was Director of Academic Affairs, and, served as Acting Secretary at the Royal Academy of Arts. She has curated many exhibitions, most recently After Impressionism: Inventing Modern Art (National Gallery London, 2023), and on Architecture, from Palladio to Russian Constructivism. She is a member of the Faculty of Architecture at the British School at Rome and a trustee of the Royal Institute of British Architects.
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Left to right: Emma McNally, Susan Morris, Michael Newman and Toby Christian. Photo: Emma Boittiaux
In conversation:
Michael Newman, Toby Christian, Emma McNally and Susan Morris
6 June 2024 —
listen to the conversation here
A conversation between Michael Newman, curator of After Mallarmé and participating artists Toby Christian, Emma McNally and Susan Morris.
The conversation took place in Part 2 of the exhibition ‘After Mallarmé, ...contingency, the operator…’. They were discussing contingency and chance, within each of their practices and how the work of art becomes an 'operation'.
Michael Newman is Professor of Art Writing in the Art Department at Goldsmiths, University of London.
The conversation took place in Part 2 of the exhibition ‘After Mallarmé, ...contingency, the operator…’. They were discussing contingency and chance, within each of their practices and how the work of art becomes an 'operation'.
Michael Newman is Professor of Art Writing in the Art Department at Goldsmiths, University of London.
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Left to right: Gerry Johansson (photo by Guido Guidi),
Guido Guidi (photo by Gerry Johansson),
Mark Ruwedel (photo by Mark Ruwedel).
In conversation:
Gerry Johansson, Guido Guidi and Mark Ruwedel
26 October 2023 —
watch and listen to the conversation here
passcode: 4DGt%?AM
A conversation between Gerry Johansson, Guido Guidi and Mark Ruwedel, moderated by art historian Andrea Mattiello.
The conversation accompanies the exhibition ‘Stepping Stones: Three Photographic Journeys’, co-curated by Jean-Paul Deridder, on display at Large Glass until 10 November.
‘Stepping Stones’ comprises three series of work by each of the artists: Motel Prints (1983), realised by Gerry Johansson during his coast-to-coast trip from Los Angeles to New York; Guido Guidi’s In Sardegna (1974), a body of work from his travels around the island of Sardinia, taken on his honeymoon; and Mark Ruwedel’s Ice Age series (1995-2003), which he describes as ‘a study of human activity in the context of the Pleistocene lakes’.
Andrea Mattiello holds a PhD on Byzantine Art History from University of Birmingham, and a PhD in History and Theory of Performance Art from the School for Advanced Studies in Venice. He has published and lectured on Medieval, Modern and Contemporary Art, Photography and Architecture, queer art in Antiquity, female agency in Byzantium, and Greek-Italian Humanism. He currently lectures for the Courtauld, NABA Milan and Oxford University.
This conversation took place online.
The conversation accompanies the exhibition ‘Stepping Stones: Three Photographic Journeys’, co-curated by Jean-Paul Deridder, on display at Large Glass until 10 November.
‘Stepping Stones’ comprises three series of work by each of the artists: Motel Prints (1983), realised by Gerry Johansson during his coast-to-coast trip from Los Angeles to New York; Guido Guidi’s In Sardegna (1974), a body of work from his travels around the island of Sardinia, taken on his honeymoon; and Mark Ruwedel’s Ice Age series (1995-2003), which he describes as ‘a study of human activity in the context of the Pleistocene lakes’.
Andrea Mattiello holds a PhD on Byzantine Art History from University of Birmingham, and a PhD in History and Theory of Performance Art from the School for Advanced Studies in Venice. He has published and lectured on Medieval, Modern and Contemporary Art, Photography and Architecture, queer art in Antiquity, female agency in Byzantium, and Greek-Italian Humanism. He currently lectures for the Courtauld, NABA Milan and Oxford University.
This conversation took place online.
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Guido Guidi and Veronica Lanconelli. Photo: Nicola Baldazzi
Guido Guidi: Di sguincio, 1969-81 book launch
23 February 2023Launch of Guido Guidi's new book ‘Di sguincio, 1969-81’, published by MACK, and coinciding with Guidi’s exhibition at the gallery.
Guidi joined by video link.
This 144-page book brings together more than one hundred black-and-white photographs made by Guido Guidi with small-format cameras between 1969 and 1981. It follows previous collaborations between Guidi and MACK, reflecting the artist's consistent and life-long engagement with bookmaking.
“With ‘Di sguincio’, we discover a set of anti-documents or anachronistic records – stamped, annotated, and sometimes artificially aged – which comment wryly on photography’s claims to truth and reveal the foundations of a lifelong engagement with the possibilities of the medium.”
Guidi joined by video link.
This 144-page book brings together more than one hundred black-and-white photographs made by Guido Guidi with small-format cameras between 1969 and 1981. It follows previous collaborations between Guidi and MACK, reflecting the artist's consistent and life-long engagement with bookmaking.
“With ‘Di sguincio’, we discover a set of anti-documents or anachronistic records – stamped, annotated, and sometimes artificially aged – which comment wryly on photography’s claims to truth and reveal the foundations of a lifelong engagement with the possibilities of the medium.”
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Left: Emma McNally ‘Choral Fields’ (detail) 2018. Right: Vanessa Billy ‘Whiplash’ (detail) 2021
Emma McNally & Vanessa Billy in conversation
11 January 2023—
watch and listen to the conversation here
passcode: P8.a=k0w
A conversation between Emma McNally and Vanessa Billy, talking about their work within the current exhibition ‘Time Spirals’ at Large Glass.
“My art practice grows out of an interest in the materiality of the world, which I see not as detached from us humans but as constitutive of our bodies.” Vanessa Billy
“Drawing is a rhythmic practice and graphite is an ideal medium for rhythmic thinking. Graphite is materially slippery. It is made of thin layers that are shed as you draw.” Emma McNally
Emma will be present in the gallery, in conversation with Vanessa on screen.
“My art practice grows out of an interest in the materiality of the world, which I see not as detached from us humans but as constitutive of our bodies.” Vanessa Billy
“Drawing is a rhythmic practice and graphite is an ideal medium for rhythmic thinking. Graphite is materially slippery. It is made of thin layers that are shed as you draw.” Emma McNally
Emma will be present in the gallery, in conversation with Vanessa on screen.