Fuck Love Heartburn

“Fuck Love Heartburn” Film collage by Hari MacMillan 2010

All the “loves” and “fucks” from the movie “Heartburn” staring Meryl Streep and Jack Nicholson, directed by Mike Nichols. It’s really, very good. Watch it. End of review.

Tony Heaton

Shaken not Stirred 1992 © Tony Heaton

Shaken not Stirred 1992 by Tony Heaton

Tony Heaton has worked as a sculptor since the inception of what became known as disability arts, a movement inextricably linked to the politics of disability.

His performance piece Shaken not Stirred – created from the stacking into a pyramid of 1,760 red charity collecting tins and then destroyed by the hurling into it of a prosthetic leg with a steel toe capped boot for the ‘Block Telethon’ campaign – was part of a seminal moment where disabled activists protested against the televising of Telethon and demanded rights not charity. more…

‘Block Telethon’

‘It portrays us as tragic, pathetic victims who long to be non- disabled, or plucky heroes who deserve a pat on the head for triumphing over adversity. Well, we’ve had enough of it,’ says Alan Holdsworth, a founder member of Block Telethon, who also sits on the executive committee of the British Council of Organisations of Disabled People.

The 1990 Telethon raised pounds 20m, a quarter of which went to disabled people’s groups. If the total were shared between every disabled person in the country, they would receive 3 pounds each. more…

Raspberry Ripple by Tony Heaton Pink Neon. 2014 (Edition of 2)

Raspberry Ripple by Tony Heaton, Pink Neon, 2014 (Edition of 2)



‘Cool on Wheels’ by Hari MacMillan, 2014 (light bulb moment)


Time Out says

Posted: Fri May 9 2014

Bath Together

Taking a bath together: Sigmar Polke (in the back) and Gerhard Richter (in front), 1966.

Rub-a-dub-dub, two art titans in a tub. The seldom seen photos, like ‘Taking a bath together’ (1966), and archive material accompanying this survey don’t quite paint a picture of two of Germany’s most respected artists as the Morcambe and Wise of art but they do reveal how closely the pair worked together at the start of their careers. And the careers of Sigmar Polke (1941-2010) and Gerhard Richter (born 1932) set the course of contemporary European painting over the past half century.

As founders of ‘capitalist realism’ in 1963, they hatched a movement that would quickly become a European corrective to US pop art, mining their country’s troubled history to parody both capitalism and communism, while tackling the thorny issue of authorship that would obsess every painter in their wake. Their work first gained a wide audience in London at the Royal Academy’s legendary 1981 exhibition ‘A New Spirit in Painting’, a show mentioned in hushed, reverent tones by anyone lucky enough to have seen it. To see Polke and Richter larking about in black and white shots humanises these demi-gods in a way that no other London show of their work has done before. You believe Richter entirely when he says that he was closer to Polke in the 1960s than he had ever been to anyone.

The show, in part a recreation of their renowned 1966 two-man exhibition in at Galerie h in Hanover, tightly enmeshes their art with an initial flurry of stylistically distinct but equally sardonic takes on pop. Their distinct personalities (Richter a purveyor of cool realist blurs and squeegeed abstract splurges; Polke a slippery magician wilfully unfaithful to any single subject or style) quickly take over, though, leading you along divergent but equally thrilling paths.

Polke’s freestanding two-sided paintings from the mid-1980s capture him at his capricious best, while for Richter in über elegant mode, look no further than ‘Kerze’ (1982), one of his classic candle paintings. Its masterpiece quota may be low, but the show immerses you in one of the most fruitful art dialogues of the twentieth century. It also acts as an appetite whetter for Tate Modern’s forthcoming Polke retrospective, which is currently being showered with five star reviews at MOMA in New York.

Martin Coomer


1024 colours

1024 colours (Detail), 1973, laquer on canvas, 254 x 478 cm, Daros Collection, Switzerland © 2014 Gerhard Richter


The exhibition at the Fondation Beyeler is the largest ever in Switzerland to be devoted to Gerhard Richter (born in Dresden in 1932, now based in Cologne), arguably the most important artist of our time. It centers for the first time on the artist’s series, cycles, and interior spaces. A counterpoint to these is formed by a number of single works, many of which have achieved iconic status. Some hundred pictures are on show — portraits, still-lifes, landscapes, abstract images — along with two glass objects and sixty-four overpainted photographs. The selection encompasses the major periods in Richter’s career since 1966, including recent works not yet seen in public.

In a career spanning sixty years Richter has created an oeuvre of striking thematic and stylistic variety. He has used photographs as the basis of figurative paintings. His abstract works range from pictures featuring color to monochrome fields and digitally generated compositions. “If the abstract pictures show my reality, then the landscapes and still-lifes show my yearning,” he wrote in 1981. The artist has also addressed recent history. The exhibition therefore includes the legendary fifteen-part cycle from the Museum of Modern Art, New York, revolving around the Baader-Meinhof gang and the events of October 18, 1977.

In the 1950s Richter studied mural painting at the Art Academy in Dresden. Since then many sketches and statements by him have testified to the crucial role played by architectural contexts in his work: “That is such a dream of mine — that the pictures will become an environment or become architecture.” Richter’s interest in the interaction between single pictures, groups of works, and the surrounding spaces is explored vividly in the exhibition, which has been put together by curator Hans Ulrich Obrist in close cooperation with the artist.


Sigmar Polke Girlfriends

Sigmar Polke Girlfriends (Freundinnen) 1965/1966 © 2013 Estate of Sigmar Polke / ARS, New York / VG Bild-Kunst, Bonn.

Sigmar Polke: Alibis  9 October 2014 – 8 February 2015
This groundbreaking retrospective of the maverick Sigmar Polke (1941–2010) will explore the full scope of his work. A key figure in the first generation of post-WWII German artists alongside Gerhard Richter and Blinky Palermo, Polke took a wildly different approach to art-making, from his responses to consumer society in the 1960s to his interest in travel and communal living in the 1970s and his increasingly experimental practice after 1980. This will be the first exhibition to bring together the full range of media in which he worked – not only painting, drawing, photography, film and sculpture, but also notebooks, slide projections and photocopies.


David Robilliard: The Yes No Quality Of Dreams

From Time Out

Posted: Thu Apr 24 2014

David Robilliard Eggs

David Robilliard ‘Don’t Get Sand in Your Boiled Eggs’, 1988

David Robilliard was a quintessential London artist – back when the city was less about big money and glitzy galleries and more about subcultures and underground creativity. If you haven’t come across his work, it’s partly because he died so prematurely (in 1988, due to Aids, aged just 36), but also because his output falls between the cracks of different cultural spheres: besides being an artist he was also a poet, as well as a prominent figure on the capital’s queer scene.

Hopefully, this exhibition of paintings from the last few years of his life marks the start of his artistic rehabilitation, because his work really is utterly delightful – in the literal sense of being full of delight, full of wonder and curiosity about the world. You can see straight away his roots in poetry, with each canvas featuring a text of some sort, hand-painted in colourful capital letters – ‘Disposable Boyfriends’, ‘Wondering What to Do this Evening’– combined with a rudimentary, almost childlike depiction of a face or figure in outline. Relationships – their joys, failures and sexual vagaries – are the constant touchstone. Yet while the language occasionally verges on lewd (‘Too Many Cocks Spoil the Breath’), the imagery, floating amid the whiteness of the canvas, has a simple, innocent feel. Occasionally text and imagery correspond, as in ‘A Roomful of Hungry Looks’, with its array of searching faces, but frequently the message is oblique, as in the cryptic admonition, ‘Don’t Get Sand in Your Boiled Eggs’.

The obvious modern-day comparison is the offbeat drawing of David Shrigley – yet Robilliard’s work has less of a pay-off or punchline. It feels more open-ended, more diaristic and intimate. You get the sense of Robilliard sifting through daily experience and then recording the most vital, most subtly affecting moments.

Gabriel Coxhead