New set of etchings launched at the IFPDA print fair, New York

October 24, 2019

Paupers Press launch 6 new polymer etchings, to complete a publication of 12, launched at IFPDA, New York alongside new publications by James Turrel and the Chapman Brothers.

https://www.ifpda.org/print_fair

Untitled 2018Polymer etchingsPaper size: 23 x 30 cmImage size: 12 x 18 cmEdition size: 25Published by Paupers Press — Untitled 2018
Polymer etchings
Paper size: 23 x 30 cm
Image size: 12 x 18 cm
Edition size: 25
Published by Paupers Press

The Paupers Press is a fine art print and publishing studio that works with many leading and emerging contemporary artists. The studio, based in Hoxton, London, was opened in 1986 and works both by commission directly from artists and galleries, as well as publishing under our own name

Established in 1991, the IFPDA Fine Art Print Fair is the largest and most celebrated art fair dedicated to the artistic medium of printmaking. Each year’s Fair presents an unrivaled opportunity to view and acquire outstanding works across the diverse range of periods and specialties represented by the IFPDA’s exhibiting members. While the Fair is known among museum curators and major collectors for its rare and exceptional prints, excellent works can be found in all price ranges, including exciting new projects from today’s leading and emerging artists.

PROTECTED BY ALARMS - mixed show opens

October 24, 2019

‘Protected by Alarms’ - an eclectic response to the confused and challenging backdrop of this moment in time. ’Protected by Alarms’ is curated by Joseph Clarke featuring works by Sarah Ball, Henry Hussey, David Kim Whittaker, Tim Shaw, Sax Impey, Jamie Mills, Roger Thorp, Jim Carter, Richard Nott, Andrew Litten, Laura J Adams, David Cooper, Samuel Bassett, Carlos Zapata, Abbie Trayler Smith and Paul Benney.

Screenshot 2019-10-24 at 19.27.26.png — THE OLD VICARAGE FLATS, ST IVES
25/10 - 16/11 - Open : Tue-Sat 11am -4pm

Sarah Ball 'Immigrant (Unknown)’, oil on gesso primed panel, 41 x 31 cm

Anima Mundi is proud to present ‘Protected by Alarms’ which takes place in the empty and derelict, Vicarage Flats in St. Ives. The exhibition provides an eclectic response to the confused and challenging backdrop of this moment in time.

Opening in the run up to the scheduled Brexit deadline, ‘Protected by Alarms’, a title taken directly from the security poster on the door of the building, alludes to a form of personal and cultural incapacitation resulting from a mounting sense of anxiety, paranoia, fear and frustration at a time of mounting suspicion, despair, hopelessness and flux.

Vicarage Flats, which provides an integral backdrop for the exhibition, sits ripe for profitable gentrified renovation in a town over-run by second homes, yet, rather unusually the owners of the site are working to turn the building into affordable housing for local residents. The context for the future of the building at this time of potentials is one of community, hope and fairness sprouting from degradation. This exhibition posets wider questions of where humankind sits currently and where it might go from here at a time of extrapolating personal, cultural and environmental crisis.

Sarah Ball: An Unlikely Likeness.The Grace Museum, Texas. 27 September 2019 - 22 February 2020 — Sarah Ball: An Unlikely Likeness.
The Grace Museum, Texas.
27 September 2019 - 22 February 2020

Museum show opens - The Grace Museum, Texas.

September 28, 2019

The Grace Museum - 2nd Floor, 102 Cypress Street Abilene, Texas, United States.

https://www.thegracemuseum.org/exhibitions-list/2019/5/14/hung-liu-dgxgr

Ball’s paintings in this solo exhibition, Sarah Ball: An Unlikely Likeness, reflect on contemporary issues of bias in an increasingly judgmental culture.

Part of the HUMAN INTEREST contemporary portraits series of exhibitions. Five exhibitions examine contemporary interpretations of the enduring tradition of portraiture. Can a portrait be more than a recognizable image of the sitter? Since the advent of photography, the genre of contemporary portraiture has expanded far beyond the requirement of recording a likeness for posterity. Today we expect more than a likeness and we rely on the artist’s skill and creativity to see the subject’s outward appearance in the context of a larger reality. Artists, both traditional and conceptual, continue to draw on the genre’s rich and limitless options for new means of creative expression, and their efforts have been rewarded with a resurgence of critical interest. The artist’s challenge is to apply his or her ingenuity and empathetic insight to illuminate not just a person’s unique appearance, but also engage the viewer. Portrait artists frequently describe their efforts as “collaborative,” recognizing that the process requires both the resemblance of the subject and the intention of the artist. The individual pictured, known or unknown, in a work of art is almost always read by the viewer as an extension of the human experience. How we react is literally in the hands of the artist.