Sebastian Guinness Gallery Circa 2009-2011
For a number of years this was the Sebastian Guinness Gallery's website.
Content is from the site's 2009 -2011 archived pages providing just a glimpse of what this gallery offered.
The Sebastian Guinness Gallery is permanently closed.
Sebastian Guinness Gallery
42 Dawson Street
Dublin 2, Ireland.
T: +353 1 679 2014
F: +353 1 679 2013
David LaChapelle was born in Connecticut in 1969. He trained as a fine artist at North Carolina School of the Arts before moving to New York. Upon his arrival, LaChapelle enrolled at both the Art Students League and the School of Visual Arts.
Not yet out of high school, he was offered his professional job by Andy Warhol to shoot for Interview Magazine. LaChapelle's images have forged a singular style that is unique, original and perfectly unmistakable. He has photographed personalities as diverse as: Tupac Shakur, Kayne West, Lady Gaga, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong, Pamela Anderson, Uma Thurman, Elizabeth Taylor, David Beckham, Paris Hilton, Jeff Koons, Leonardo DiCaprio, Hilary Clinton, Muhammed Ali, and Britney Spears, to name just a few.
Once called the Fellini of photography, LaChapelle has worked for the most prestigious international publications and has been the subject of exhibitions in both commercial galleries and leading public institutions worldwide.
American Jesus an Exhibition by David LaChapelle
September 19th - November 28th at our Connaught House Gallery, Burlington Road, Dublin 4.
Opening Times: Tuesday to Saturday 11-6pm
An aside: What an exciting show to see. I was lucky enough to catch it when I was in Ireland visiting relatives. LaChapelle's images are both bizarre and gorgeous. He has certainly forged a singular fine art photography style that is unique, original, and perfectly unmistakable. I took my younger cousins to the show, knowing that the representation of the subject matter for my elderly aunt and uncle might be too much. Much of the conversation prior to going to the exhibition was about the IT work I do for an e-commerce site in the US that sells not only janitorial supplies, but also restaurant, and office supplies to both the wholesale and retail markets. My aunt thought it was hilarious how I could speak knowledgeably about such janitorial supplies as commercial garbage bags from biohazard waste bags, to kitchen trash bags, to the large 51-60 gallon and high density trash bags used on construction sites. And when I extolled the virtues of certain paper products or cleaning products over others, she declared I would be the perfect catch for a woman. She wouldn't have to do any shopping for janitorial household products since not only did I know my stuff, but I also knew the best place to buy them. You do get an extra discount from where you work, she asked. After the exhibition visit, all my cousins could talk about was David LaChapelle. Which was fine with me. Too much attention can get overwhelming. And let's face it, there is a lot to discuss regarding David LaChapelle's work.
WOLFE VON LENKIEWICZ, LIBERATION. THEIR STORY BEGINS...
Liberation. Their Story Begins…
Wolfe von Lenkiewicz’s work involves the appropriation of recognisable iconographic images which are then reconfigured and added to through the medium of drawing. The new reconfigurations occupy a space between the recognisable and the new; the historical and the contemporary. The drawings which are monumental, occupy an interesting space between the tome of art historical knowledge, the lexicon of visual language, and the sophisitcated intelligence of the viewer. The observer may trace the point of appropriation, the intervention into it, and the new image created as a result. A second and perhaps more germane point of recognition for the viewer is von Lenkiewicz’s use of the traditional medium of drawing which spans the entire history of Western Art beginning with the cave paintings at Lascaux. von Lenkiewicz’s mastery as draughtsman is perhaps the strongest link to the history he both appropriates and participates in, and thereby adds to.
von Lenkiewicz’s subject matter is varied, diverse and at times risqué. He boldly experiments with hybrid visual combinations that straddle the murky borders between the sacred and the profane; image and aspect. An interesting feature of his working process is the manner in which he moves freely between the public and private to the public once again. In his ouvre von Lenkiewicz unapologetically engages the works of Picasso, Balthus, Andy Warhol, Jeff Koons, and Lewis Carroll. A curious reference to the work of Walt Disney is linked historically to the artist personally through his great grandfather, court painter to King Ludvig II of Bavaria 1845-1886 whose custom built castle, Neuschwanstein, was built as a homage to the composer Richard Wagner and which became the inspiration for Disneyland. In tandem with the appropriation of recognised images is the further appropriation of artistic style which can only be understood in terms of a testament to the skill of the artist. Wandering through the space it is possible to identify influences of Op Art, Analytical Cubism and allegory. Finally, throughout the diversity of subject, style and rendering, is a consistent thread or rather consciousness that is acknowledged through the work itself - that the job of the artist is first and foremost to make an image.
Wolfe von Lenkiewicz presently works in Berlin. He has exhibited extensively throughout Europe in venues such as; Maison Rouge, The Kuntshaus, Hamburg and the Palais de L’iles.
Exhibition runs until November 5th, Tuesday to Friday 10-6pm and Saturday 12-6pm
BABEL BY AIDAN LYNAM
‘Babel’ is a response to Ireland’s property boom and the consequences of its collapse. The work aims to encourage a critical examination of the societal changes and transformations that impacted on the built environment as well as the cultural, economic and political landscape of the country. The ‘Tower of Babel’ is used an allegory to represent how Dublin’s property bubble spiralled out of control.
The sculptural installation takes the form of a 1:200 scale architectural model. The architectural model was chosen to represent ‘Babel’ as a means to re-appropriate a language of presentation used by developers and real estate agents as a marketing tool. The clearly imagined development of Dublin as a modern day tower of Babel is used to reflect the very real hubris of time.
Aidan Lynam was born in London in 1978 and has lived in Ireland since 1978. In 2008 he graduated with a BA Honours in Fine Art Sculpture from the College of Art Design & Printing at the Dublin Institute of Technology. His current work draws from his experience working in model making.
Please Note: Babel is currently on display in the Irish Architectural Archive 45 Merrion Square, Dublin 2.
A TALE OF TWO CITIES. JOHN DEAKIN AND JOHNNIE SHAND KYDD OPENS NOVEMBER 11TH
A Tale of Two Cities: John Deakin –Genoa and Johnnie Shand Kydd -Naples. November 11th – December 10th
In his lifetime John Deakin (1916-72) achieved notoriety for his portraits for Vogue of the leading figures of early post war cultural life – from Dylan Thomas to Humphrey Bogart, Maria Callas to John Huston. Vogue might have expected flattering likenesses but Deakin instead provided unretouched and pitiless documents. It was a short-lived relationship for the lure of the pubs and clubs of London’s West End, conveniently close to Vogue’s studios, ultimately claimed him. And in so doing, Deakin’s lasting fame became instead for his portraits of the artists of the 1950s, specifically those who congregated there and contributed to the myth and the reality of a ‘Soho bohemia’. Chief among these figures were Francis Bacon and Lucian Freud, Michael Andrews, Frank Auerbach, the luckless John Minton and the ill-starred ‘Two Roberts’, Colquhoun and MacBryde.
When Johnnie Shand Kydd’s dispassionate survey of the new artistic bohemia of the 1990s, the ‘Young British Artists’ mostly at play – Damien Hirst, Gary Hume, Tracy Emin, Sarah Lucas, Sam Taylor Wood and Jay Jopling – burst onto the scene, the parallels were clear, at least in the broadest sense. Like Deakin, Shand Kydd was as much a participant in the fin-de-siecle revels as their recorder. (Much of which occurred in the Colony Room, a favourite haunt of Deakin’s some 40 years before). Shand Kydd was more sympathetic to his subjects, Deakin a merciless eye. There is much to enjoy in the younger photographer’s work, a palpable sense of belonging to something vital and when to be young and talented and clever was enough; there is little in Deakin’s portraits to raise much of a smile. Both photographers shared an affinity withItaly, whence Shand Kydd frequently returns. Deakin made a book of street photographs of Rome, where he lived for several years after leaving Vogue, and then travelled to Genoa to document for an unpublished book the Italsider steel works. On display are fragments from that unrealised project. Shand Kydd has chosen Naples as his arena and taken from it exuberant slices of life, joyful, sad, highly-charged and off-kilter.
LaChapelle's work continues to be inspired by everything from art history to street culture, creating both a record and mirror of all facets of popular culture today. He is quite simply the only photographic artist currently working in the world today whose work has transcended the fashion or celebrity magazine context it was made for, and has been enshrined by the notoriously discerning and fickle contemporary art intelligentsia.
Helen Chadwick is recognised as one of the leading exponents of the controversial late 20th century British art scene and was mentor and lecturer to
Damien Hirst and Tracey Emin. A rare and highly regarded montage from her ‘Viral Landscape’ series (five large scale photographic montages,
4' high and 10' long, displayed as a panoramic frieze). In each montage the artist's photograph of a rocky and savage coastal landscape is partially overlaid and merged with enlarged images of cells from her own body. There is a strange irony in the choice of title in this work which brought her to such public prominence as she would subsequently die prematurely through a viral infection.
Ogden’s admiration and respect for the many idiosyncrasies of Irish life are caught in ‘Entrance Hall’ by Andrew Bush taken from the American photographer’s study of the Georgian house Bonnettstown, Alen MacWeeney’s 1965 study of the Traveller Community and John Hinde’s idealistic shots of 50’s to 70’s Ireland. For Perry Ogden, these distinguished photographers have influenced and inspired his own career as both photographer and filmmaker.
Born in Shropshire in England, he now lives in Ireland. His photographs have appeared in countless magazines worldwide including Italian Vogue, Luomo Vogue, W, The Face and Arena, and he has shot advertising campaigns for Ralph Lauren, Chloe and Calvin Klein .
James Nares is a gestural-abstractionist par excellence. Nares (b. 1953) makes his bold highly stylised marks by physically suspending himself above the painting on a homemade sliding contraption which enables him to drag a loaded brush in its sweeping calligraphic path across the canvas.
A New York artist, Nares' biography lists numerous solo exhibitions in the United States and London as well as inclusion in some of the most exciting curated group exhibitions of the last thirty-five years including shows at MOMA and The Drawing Centre, New York.
Sebastian Guinness is pleased to announce its inaugural show; the first one-man exhibition in Ireland, of German artist Herbert Hamak.
Hamak was born in 1952, in Unterfranken, Bavaria, where he lives and works to this day.He spent the years 1972-1980 at the StaedelArtSchool in Frankfurt, one of Germany’s crucibles of artistic innovation.He is an artist dedicated to the tactile and painterly qualities of light.Working in resin, his abstract, minimal forms are simple studies in the saturation of colour and ask an infinite number of visual questions.Hamak has refined his palette and technique over the past quarter century allowing for a variety of form that, although at once sculptural, he prefers to regard as paintings.His works impress because they are strongly structured, rigorous, transparent, and ambiguous entities.
His work has been exhibited around the world and is represented in numerous prestigious permanent collections: MMK, Frankfurt; Kunsthalle, Mannheim; Technische Hocheschule, Frankfurt; the Daimler Chrysler Collection; and The PeggyGuggenheimMuseum, Venice.