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// last chance // #nudes @sadiecoleshq in mayfair. featuring thirteen artists focusing on the nude body in sculpture, painting and photography. the exhibition runs until 26th May 2018. #sadiecoles #sadiecoleshq #sadiecolesgallery #mayfair #mayfairart #mayfairgallery #londongalleries #londongallery #londonartscene #artoftheday #contemporaryart #photography #londonart #artlondon #weartlondon
Classic Sarah Lucas ‘Nude No.1’ from 1999 in the great nudes show @sadiecoleshq .
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#art #london #contemporaryart #sarahlucas #nudes #nude #sadiecoles #sadiecoleshq
A graduate of the St Martin's School of Art, Periton describes his practice as "taking my scalpel for a walk.” Over the years, his sculptures have ranged from baroque and decadent black doilies to punky laces curtain made out of metallic foil.  Periton has painted on glass, creating elaborate images that verge on the psychedelic and the baroque. The images here are from his early years at Sadie Coles HQ.  1. Sir Punks, 1999.  2. Death Star, 1999.  3. Radiant Anarchy Doily [black + pink], 1998  #sadiecoleshq #simonperiton #stmartinschoolofart #doilies #laces #elaborateimage #baroque #psychedelic #mushrooms #blackandpink
A graduate of the St Martin's School of Art, Periton describes his practice as "taking my scalpel for a walk.” Over the years, his sculptures have ranged from baroque and decadent black doilies to punky laces curtain made out of metallic foil. Periton has painted on glass, creating elaborate images that verge on the psychedelic and the baroque. The images here are from his early years at Sadie Coles HQ. 1. Sir Punks, 1999. 2. Death Star, 1999. 3. Radiant Anarchy Doily [black + pink], 1998 #sadiecoleshq  #simonperiton  #stmartinschoolofart  #doilies  #laces  #elaborateimage  #baroque  #psychedelic  #mushrooms  #blackandpink 
Beautiful Laura Owens in Nudes @sadiecoleshq for the happy couple today
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#art #artcollector #london #sadiecoleshq #sadiecoles #nudes #lauraowens #royalwedding #contemporaryart
In 2003 T.J. Wilcox presented at Sadie Coles HQ, 35 Heddon Street a series of twelve new silent films collectively subtitled Garlands and made to be shown together. Wilcox used a combination of found footage, collaged animation and his own film to make mini-narratives linked by their melancholic ruminations on innocence, romance and courage.
The stills here are include one from Strawberry, in which a fetishized strawberry plant came to obliquely represent innocence and growth post 9/11; Ortino, which features the pet dog of the Romanoff Princesses who was massacred alongside his owners; and Ara Tripp, a transsexual and contemporary Humpty Dumpty from Wilcox’s home town who climbed on top of  a powerline topless.
#sadiecoleshq #tjwilcox #garlands #heddonstreet #strawberry #dog #ortino #aratripp #romanoffprincesses #humpydumpty #silentfilms #innocence #courage #romance #powelines #pylons
In 2003 T.J. Wilcox presented at Sadie Coles HQ, 35 Heddon Street a series of twelve new silent films collectively subtitled Garlands and made to be shown together. Wilcox used a combination of found footage, collaged animation and his own film to make mini-narratives linked by their melancholic ruminations on innocence, romance and courage. The stills here are include one from Strawberry, in which a fetishized strawberry plant came to obliquely represent innocence and growth post 9/11; Ortino, which features the pet dog of the Romanoff Princesses who was massacred alongside his owners; and Ara Tripp, a transsexual and contemporary Humpty Dumpty from Wilcox’s home town who climbed on top of a powerline topless. #sadiecoleshq  #tjwilcox  #garlands  #heddonstreet  #strawberry  #dog  #ortino  #aratripp  #romanoffprincesses  #humpydumpty  #silentfilms  #innocence  #courage  #romance  #powelines  #pylons 
‘Free Love #93’ (2015) by Richard Prince currently on display at Sadie Coles HQ’s Davies Street location in London as part of a group exhibition ‘Nudes’, which runs until May 26th “In spring 2018, Sadie Coles HQ presents Nudes, an exhibition focusing on the nude body in sculpture, painting and photography. Works by thirteen artists, spanning five decades, examine the versatile and paradoxical power of the nude body, whether as an ancient motif or a mirror of contemporary attitudes. The body passes through different shades of meaning – idealised, erotic, comic and vulnerable.
For this series of paintings (Free Love), Prince collected a group of nudist cartoons by John Dempsey (1919-2002), whose drawings were a staple of Playboy magazine for five decades. Prince enlarged the vintage drawings into inkjet prints, and drew ‘hippie drawings’ – of the kind that populated his work from the late 1980s – over the tops of the appropriated images.
In these superimposed hippie drawings, Prince cites the Modernist titans who have recurred in his work – above all Willem de Kooning and Pablo Picasso. Vestiges of avant-garde painting are brought into collision with – or wrapped around – louche cartoons.” - Sadie Coles HQ
‘Free Love #93 ’ (2015) by Richard Prince currently on display at Sadie Coles HQ’s Davies Street location in London as part of a group exhibition ‘Nudes’, which runs until May 26th “In spring 2018, Sadie Coles HQ presents Nudes, an exhibition focusing on the nude body in sculpture, painting and photography. Works by thirteen artists, spanning five decades, examine the versatile and paradoxical power of the nude body, whether as an ancient motif or a mirror of contemporary attitudes. The body passes through different shades of meaning – idealised, erotic, comic and vulnerable. For this series of paintings (Free Love), Prince collected a group of nudist cartoons by John Dempsey (1919-2002), whose drawings were a staple of Playboy magazine for five decades. Prince enlarged the vintage drawings into inkjet prints, and drew ‘hippie drawings’ – of the kind that populated his work from the late 1980s – over the tops of the appropriated images. In these superimposed hippie drawings, Prince cites the Modernist titans who have recurred in his work – above all Willem de Kooning and Pablo Picasso. Vestiges of avant-garde painting are brought into collision with – or wrapped around – louche cartoons.” - Sadie Coles HQ
Victoria Morton’s abstract paintings are arrangements of conscious and unconscious thoughts. Borrowing the idea of continuous composition from music, each painting suggests movement and an unfolding of visual and spatial possibilities.
In her first exhibition at Sadie Coles HQ at 35 Heddon Street in 2000, she looked at Renaissance and Old Master paintings from a personal point of view, like in this painting Plus and Minus where a dazzling rainbow angel wing or a mechanical bird is evoked emerging and flickering from a dark mass. #sadiecoleshq #victoriamorton #heddonstreet #abstractpainting #conscioustoughts #unconscioustoughts #composition #music #renessaince #oldmasters #plusandminus #darkmass
Victoria Morton’s abstract paintings are arrangements of conscious and unconscious thoughts. Borrowing the idea of continuous composition from music, each painting suggests movement and an unfolding of visual and spatial possibilities. In her first exhibition at Sadie Coles HQ at 35 Heddon Street in 2000, she looked at Renaissance and Old Master paintings from a personal point of view, like in this painting Plus and Minus where a dazzling rainbow angel wing or a mechanical bird is evoked emerging and flickering from a dark mass. #sadiecoleshq  #victoriamorton  #heddonstreet  #abstractpainting  #conscioustoughts  #unconscioustoughts  #composition  #music  #renessaince  #oldmasters  #plusandminus  #darkmass 
Ugo Rondinone, 'nude (xxxxxxxxxxxx)', 2011. Currently showing at Sadie Coles as part of the group show 'Nudes'. The life-size wax figure was cast from the bodies of dancers and then assembled together. @sadiecoleshq #sadiecoleshq #UgoRondinone #nudes #nude #wax #sculpture #figure #sculpture #contemporaryart #artgallery #exhibition #londonexhibition
John Bock’s immersive installation at the Barbican in 2010 presented a motorized habitat designed to dock with parasitic, insect-like, pod structures that clung  to the Barbican’s Curve Gallery walls and ceiling. The main vehicle is a tower of  small room-like spaces, including a kitchen area with pots and pans, a sleeping area, and a place for socialising.  Bock’s eccentric interpretation of a functioning community was activated by participating performers moving from mothership to pod. #sadiecoleshq #johnbock #barbican #curvegallery #insectlike #vehicle #mothership #pod #community #parasitic
John Bock’s immersive installation at the Barbican in 2010 presented a motorized habitat designed to dock with parasitic, insect-like, pod structures that clung to the Barbican’s Curve Gallery walls and ceiling. The main vehicle is a tower of small room-like spaces, including a kitchen area with pots and pans, a sleeping area, and a place for socialising. Bock’s eccentric interpretation of a functioning community was activated by participating performers moving from mothership to pod. #sadiecoleshq  #johnbock  #barbican  #curvegallery  #insectlike  #vehicle  #mothership  #pod  #community  #parasitic 
The starting points for Wilhelm Sasnal's latest paintings include his own photographs, the internet, newspapers, film stills, found photographic portraits and historical works of art. 
#Repost from @contemporaryartdiary of Wilhelm Sasnal's 'Untitled' (2017) on view in his solo exhibition 'Sleep' at @sadiecoleshq in London. The exhibition continues until May 26. 
#wilhelmsasnal #sadiecoles #sadiecoleshq #sadiecolesgallery #london #painting #painter #contemporaryart #contemporaryartist #fineart #visualart #visualartist #ocula #oculaart #1145006
The starting points for Wilhelm Sasnal's latest paintings include his own photographs, the internet, newspapers, film stills, found photographic portraits and historical works of art. #Repost  from @contemporaryartdiary of Wilhelm Sasnal's 'Untitled' (2017) on view in his solo exhibition 'Sleep' at @sadiecoleshq in London. The exhibition continues until May 26. #wilhelmsasnal  #sadiecoles  #sadiecoleshq  #sadiecolesgallery  #london  #painting  #painter  #contemporaryart  #contemporaryartist  #fineart  #visualart  #visualartist  #ocula  #oculaart  #1145006 
Steven Calydon was included in the 2009 exhibition Alejandro Jodorowsky’s ‘Dune’: an exhibition of a film of a book that never was, at the Drawing Room in London.
This was an exhibition of a film that never happened, and which was supposed to be an adaptation in the 1976 of Frank Herbert’s classic science fiction novel ‘Dune’.
Steven Claydon participated  using a range of mix media exploring different moments in history and draw connotations between the past and contemporary social symbols and obsolete ideologies. His multi-faceted totemic structures are shown together with drawings by Matthew Day Jackson and Vidya Gastaldon. #sadiecoleshq #stevenclaydon #drawingroomlondon #dune #alejandrojodorowsky #frankherbert #totems #drawings #matthewday #vidyagastaldon
Steven Calydon was included in the 2009 exhibition Alejandro Jodorowsky’s ‘Dune’: an exhibition of a film of a book that never was, at the Drawing Room in London. This was an exhibition of a film that never happened, and which was supposed to be an adaptation in the 1976 of Frank Herbert’s classic science fiction novel ‘Dune’. Steven Claydon participated using a range of mix media exploring different moments in history and draw connotations between the past and contemporary social symbols and obsolete ideologies. His multi-faceted totemic structures are shown together with drawings by Matthew Day Jackson and Vidya Gastaldon. #sadiecoleshq  #stevenclaydon  #drawingroomlondon  #dune  #alejandrojodorowsky  #frankherbert  #totems  #drawings  #matthewday  #vidyagastaldon 
"I never assume how the painting will look”, Sasnal has stated. “I would rather let it be painted. I don’t want to know the outcome.” *
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Absolutely love this exhibition of Wilhelm Sasnal's atmospheric paintings at Sadie Coles. Each painting presents a precise yet ambiguous moment – ‘vague’ in the literal sense of wandering and unfixed- with resonance of the past in the present. True to his time, Sasnal draws images from sources high and low, including the Internet, art history, propaganda, photojournalism, snapshots, and cartoons. *
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#wilhelmsasnal #sadiecoleshq #polishpainter #ambiguity #unpredictability #imagery #appropriation #henrimatisse #arthistory #pastandpresent #personalandpublic #owninterpretation
"I never assume how the painting will look”, Sasnal has stated. “I would rather let it be painted. I don’t want to know the outcome.” * * Absolutely love this exhibition of Wilhelm Sasnal's atmospheric paintings at Sadie Coles. Each painting presents a precise yet ambiguous moment – ‘vague’ in the literal sense of wandering and unfixed- with resonance of the past in the present. True to his time, Sasnal draws images from sources high and low, including the Internet, art history, propaganda, photojournalism, snapshots, and cartoons. * * #wilhelmsasnal  #sadiecoleshq  #polishpainter  #ambiguity  #unpredictability  #imagery  #appropriation  #henrimatisse  #arthistory  #pastandpresent  #personalandpublic  #owninterpretation 
Chen Zhe: "The Bearable" (2007-10) and "Bees" (2010-12)

Chen Zhe explores a diary of mental illness and self-harm through sensitive and truthful photography and text.

I found this exposure of emotion through text and photography to be hard-hitting yet true-to-life.

These pieces were pictured at the Zhongguo 2185 exhibition (exhibited: 21/09/17 until 04/11/17). #zhongguo2185 #sadiecolesHQ #sadiecolesgallery #sadiecoleshqgallery #chenzhe #bees #thebearable #chineseartist #china #selfharm #mentalhealth #photography #diary
Chen Zhe: "The Bearable" (2007-10) and "Bees" (2010-12) Chen Zhe explores a diary of mental illness and self-harm through sensitive and truthful photography and text. I found this exposure of emotion through text and photography to be hard-hitting yet true-to-life. These pieces were pictured at the Zhongguo 2185 exhibition (exhibited: 21/09/17 until 04/11/17). #zhongguo2185  #sadiecolesHQ  #sadiecolesgallery  #sadiecoleshqgallery  #chenzhe  #bees  #thebearable  #chineseartist  #china  #selfharm  #mentalhealth  #photography  #diary 
XUZHEN Supermarket as curated by Victor Wang 王宗孚.

I saw this installation at Sadie Coles HQ in 2017 and loved the atmosphere of being in the classic Asian supermarket. 
Each product available to buy is empty - commenting on consumerism; capitalism and the value of art. 
#capitalism #asia #asian #fineart #art #sculpture #installation #xuzhensupermarket #sadiecolesHQ #consumerist #consumerism #contemporaryart #victorwang #china #chinese
Wilhelm Sasnal, 'Untitled', 2017. Currently showing at Sadie Coles HQ. #WilhelmSasnal #sadiecoles #sadiecoleshq @sadiecoleshq #painting #artgallery #exhibition #londonexhibition #contemporaryart #oiloncanvas #contemporaryart
#WilhelmSasnal at #SadieColesHQ with paintings in his distinctive style.
#Repost @sadiecoleshqarchive with @get_repost
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These photographs were taken by Nicola Tyson in the autumn of 1978 while she was an eighteen-year-old student at Chelsea College of Art. They are an archive of the London club scene of the late 1970s.These images capture the earliest genesis of the New Romantic scene that was to define the decade ahead. Billy’s was a club in Soho that hosted ‘Bowie Nights’ every Tuesday night, with music by DJ Rusty and Steve Strange. 
It was frequented by a teenaged George O’Dowd (Boy George) complete with pompadour haircut and baggy dungarees, Peter Robinson (Marylin) with Jordan ‘hairdo’, Jeremy Healy, Phillip Sallon, and Princess Julia (who remembers Billy’s as “a kind of seedy place”), Simon Le Bon, Siobhan Fahey and various other soon-to-be icons of the 1980s . The photographs offer an evocative glimpse of a fleeting moment in the history of the British underground.
In January and February 2013, Sadie Coles HQ presented the exhibition “Bowie Nights at Billy’s Club, London, 1978” at Balfour Mews in W1. #sadiecoleshq #nicolatyson #billysclub #soho #80s #bowienight #balfourmews #djrusty #stevestrange @nicola_tyson @hrhprincessjulia
#Repost  @sadiecoleshqarchive with @get_repost ・・・ These photographs were taken by Nicola Tyson in the autumn of 1978 while she was an eighteen-year-old student at Chelsea College of Art. They are an archive of the London club scene of the late 1970s.These images capture the earliest genesis of the New Romantic scene that was to define the decade ahead. Billy’s was a club in Soho that hosted ‘Bowie Nights’ every Tuesday night, with music by DJ Rusty and Steve Strange. It was frequented by a teenaged George O’Dowd (Boy George) complete with pompadour haircut and baggy dungarees, Peter Robinson (Marylin) with Jordan ‘hairdo’, Jeremy Healy, Phillip Sallon, and Princess Julia (who remembers Billy’s as “a kind of seedy place”), Simon Le Bon, Siobhan Fahey and various other soon-to-be icons of the 1980s . The photographs offer an evocative glimpse of a fleeting moment in the history of the British underground. In January and February 2013, Sadie Coles HQ presented the exhibition “Bowie Nights at Billy’s Club, London, 1978” at Balfour Mews in W1. #sadiecoleshq  #nicolatyson  #billysclub  #soho  #80s  #bowienight  #balfourmews  #djrusty  #stevestrange  @nicola_tyson @hrhprincessjulia
These photographs were taken by Nicola Tyson in the autumn of 1978 while she was an eighteen-year-old student at Chelsea College of Art. They are an archive of the London club scene of the late 1970s.These images capture the earliest genesis of the New Romantic scene that was to define the decade ahead. Billy’s was a club in Soho that hosted ‘Bowie Nights’ every Tuesday night, with music by DJ Rusty and Steve Strange. 
It was frequented by a teenaged George O’Dowd (Boy George) complete with pompadour haircut and baggy dungarees, Peter Robinson (Marylin) with Jordan ‘hairdo’, Jeremy Healy, Phillip Sallon, and Princess Julia (who remembers Billy’s as “a kind of seedy place”), Simon Le Bon, Siobhan Fahey and various other soon-to-be icons of the 1980s . The photographs offer an evocative glimpse of a fleeting moment in the history of the British underground.
In January and February 2013, Sadie Coles HQ presented the exhibition “Bowie Nights at Billy’s Club, London, 1978” at Balfour Mews in W1. #sadiecoleshq #nicolatyson #billysclub #soho #80s #bowienight #balfourmews #djrusty #stevestrange @nicola_tyson @hrhprincessjulia
These photographs were taken by Nicola Tyson in the autumn of 1978 while she was an eighteen-year-old student at Chelsea College of Art. They are an archive of the London club scene of the late 1970s.These images capture the earliest genesis of the New Romantic scene that was to define the decade ahead. Billy’s was a club in Soho that hosted ‘Bowie Nights’ every Tuesday night, with music by DJ Rusty and Steve Strange. It was frequented by a teenaged George O’Dowd (Boy George) complete with pompadour haircut and baggy dungarees, Peter Robinson (Marylin) with Jordan ‘hairdo’, Jeremy Healy, Phillip Sallon, and Princess Julia (who remembers Billy’s as “a kind of seedy place”), Simon Le Bon, Siobhan Fahey and various other soon-to-be icons of the 1980s . The photographs offer an evocative glimpse of a fleeting moment in the history of the British underground. In January and February 2013, Sadie Coles HQ presented the exhibition “Bowie Nights at Billy’s Club, London, 1978” at Balfour Mews in W1. #sadiecoleshq  #nicolatyson  #billysclub  #soho  #80s  #bowienight  #balfourmews  #djrusty  #stevestrange  @nicola_tyson @hrhprincessjulia
Looking onto Davies Street from the second floor at @sadiecoleshq
Looking onto Davies Street from the second floor at @sadiecoleshq
Sadie Coles HQ Gallery turned 21 this year!!Watch this space for images and stories from this unique archive @sadiecoleshqarchive @sadiecoleshq #sadiecoleshq #archives #images
Sadie Coles HQ Gallery turned 21 this year!!Watch this space for images and stories from this unique archive @sadiecoleshqarchive @sadiecoleshq #sadiecoleshq  #archives  #images