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Creative Knitting Workshop is Back for 2018 

book now - limited tickets available on Eventbrite

https://www.eventbrite.co.uk/e/creative-knitting-workshop-at-leyden-gallery-tickets-41421389491 

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Delighted to have a piece of work hanging in Leyden Gallery next to Leena McCall’s painting “Ms Ruby May, Standing’ which was recently banned from another gallery for being too pornographic??!!! ‘Illuminations’ which hangs beside it was something I created with the same sort of spirit in mind.  Stop unequal erotic censorship in art!

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#eroticcensorship #portraitofRubyMayStanding #censoredart now proudly exhibited at #leydengallery

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Vivienne Koorland

Vivienne Koorland

Vivienne Koorland art works on show at Leyden Gallery Summer Salon 

Small Ear-mound Painting (1999) & Gold Africa (2010) exclusively available at Leyden Gallery Summer Salon until 26 July 2014 http://leydengallery.com/summer-salon-artists#/id/i7815084 

Following Koorland's appearance in our Summer Salon, we are delighted to hear that she is now also exhibiting at Marian Goodman Gallery New York, where she was selected by William Kentridge to appear in the exhibition Some Artists' Artists

http://www.mariangoodman.com/exhibitions/2014-06-26_some-artists-artists/

Born in 1957 in Cape Town, South Africa, Vivienne began painting at an early age. Educated under Apartheid, studying Fine Art at the University of Cape Town, she was politically engaged and illustrated the Xhosa-language dockworkers’ newspaper ABASEBENZI (worker). Her ideas and work practice were also powerfully influenced by the philosophy of Theodor Adorno and the Frankfurt School. Her layering of content and material invests her work with meaning beyond its historic and narrative sources.

After graduating in 1978 from the University of Cape Town, Vivienne was awarded grants to study at the Universität der Künste Berlin (MFA 1981), the École des Beaux-Arts Paris (Médaille de la Ville de Paris 1982), Columbia University in New York (MFA 1984) and the Skowhegan School in Maine (Summer 1983).

Her work has been discussed in terms of its relationship to history and growing up in South Africa and then leaving. Her paintings have been the subject of solo and group exhibitions, including the 2nd Johannesburg Biennial 1997, Freud Museum London,REISEMALHEURS, 2007, and Haunch of Venison London, HOME LANDS – LAND MARKS: Contemporary Art From South Africa, 2008.

Vivienne Koorland currently lives and works in New York City.

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Sneak preview of what will be arriving at #leydengallery soon. #stunning #beautiful #black #heart #sculpture #love #art

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'The hand is another thought'

  http://tinakinsella.wordpress.com/the-hand-is-another-thought-on-the-poetic-aesthetics-of-painting-tracey-emin-and-bracha-l-ettinger/

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This composite image of three Popes raises the question of art made in homage but as Bacon's screaming Pope electrifies in purple and lemon and appears to land in the centre of these two art-historical points #JakeWoodEvans returns to the very materiality of paint as medium, glistening, scraping, drying, dripping, visceral, blood, paint 

See Jake Wood-Evans painting ’Portrait of Pope Innocent X - after Diego Velázquez’ still causing a stir at our Summer Salon.

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Sophie Calle Rachel, Monique May 9 – June 25, 2014 in the Chapel

SOPHIE CALLE detail from "I Died in a Good Mood", 2013 (from the series "Autobiographies") digital print © 2013 Sophie Calle / Artists Rights Society (ARS), New York / ADAGP, Paris. Courtesy of Sophie Calle, Paula Cooper Gallery and Galerie Perrotin

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John Deakin photograph that CIA facial recognition software revealed was Francis Bacon dressed as a woman - pearls and cleavage and all!

The wonderful Francis Bacon showing off his new pearls.

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'The Performer's Apparition' acrylic on canvas, 80x120cm aprox.  Double Portrait of actress Amanda Wass. The double portrait reflects the idea of seeing one's self, of duplicity and the need to compartmentalise.  The face paint was a literal way of covering features that might betray emotion or weakness.  The dramatic posing and the use of facepaint was an allusion to Amanda's  profession and the theatricality of pretence and performance…more to come! 

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This troubling masterpiece teeters on the edge of morbid fascination and arguably topples over into the abyss of the macabre. Maderno records a sensational discovery. At the end of the 16th century the perfectly preserved body of the ancient Roman St Cecilia was discovered in Rome. Anyway, that’s what people believed. This eerie sculpture records the purported perfection of the miraculous corpse.

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'Artwork is a working through of disappointments and a growing recognition of failure to the point of defeat, but still we wake up, and there is inspiration. We go on. Be defeated. Carry on. It is a discipline.'

-Agnes Martin

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A shop-fronted association dedicated to the opposition of Woman's Suffrage. Note the passing glance-back of the woman, who the group of distracted men are oblivious to. 

Of course, the effect of all this misogynistic propaganda was a level of violence that clearly underpinned a patriarchal hatred of women who did not know their 'lady-like' place; a hatred that obsequiously masqueraded under the guise of being respectful to 'ladies' ... I've always hated being referred to as a lady

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Masaccio, The Expulsion of Adam and Eve from Eden - Restoration c.1425

From Milton's Paradise Lost - book ix (the numbers do not correspond with the original) 

The Tempter, all impassioned, thus began.

Oh sacred, wise, and wisdom-giving Plant,

Mother of science, now I feel thy power

Within me clear; not only to discern

Things in their causes, but to trace the ways

Of highest agents, deemed however wise.

Queen of this universe, do not believe

Those rigid threats of death: ye shall not die:

How should you? by the fruit? it gives you life

To knowledge; by the threatener? look on me,

Me, who have touched and tasted; yet both live,

And life more perfect have attained than Fate

Meant me, by venturing higher than my lot.

Shall that be shut to Man, which to the Beast

Is open? or will God incense his ire

For such a petty trespass? and not praise

Rather your dauntless virtue, whom the pain

Of death denounced, whatever thing death be,

Deterred not from achieving what might lead

To happier life, knowledge of good and evil;

Of good, how just? of evil, if what is evil

Be real, why not known, since easier shunned?

God therefore cannot hurt ye, and be just;

Not just, not God; not feared then, nor obeyed:

Your fear itself of death removes the fear.

Why then was this forbid? Why, but to awe;

Why, but to keep ye low and ignorant,

His worshippers? He knows that in the day

Ye eat thereof, your eyes that seem so clear,

Yet are but dim, shall perfectly be then

Opened and cleared, and ye shall be as Gods,

Knowing both good and evil, as they know.

That ye shall be as Gods, since I as Man,

Internal Man, is but proportion meet;

I, of brute, human; ye, of human, Gods.

So ye shall die perhaps, by putting off

Human, to put on Gods; death to be wished,

Though threatened, which no worse than this can bring.

And what are Gods, that man may not become

As they, participating God-like food?

The Gods are first, and that advantage use

On our belief, that all from them proceeds:

I question it; for this fair earth I see,

Warmed by the sun, producing every kind;

Them, nothing: if they all things, who enclosed

Knowledge of good and evil in this tree,

That whoso eats thereof, forthwith attains

Wisdom without their leave? and wherein lies

The offence, that man should thus attain to know?

What can your knowledge hurt him, or this tree

Impart against his will, if all be his?

Or is it envy? and can envy dwell

In heavenly breasts? These, these, and many more

Causes import your need of this fair fruit.

Goddess humane, reach then, and freely taste.

He ended; and his words, replete with guile,

Into her heart too easy entrance won:

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